Guadalajara Highlights Hits, Notable Debuts Among Recent Spanish, Portuguese-Language Movies, Plus a Film About a ‘Hell of Naked Depravity’

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At this year’s Guadalajara Film Festival, José María Cravioto’s “Cars, Pot & Rock ‘N’ Roll: The Legend of the Mexican Woodstock” and Victoria Franco’s “Twelve Moons” are both part of the Mezcal Mexican competition.

In competition with it, there’s another notable contender primarily concentrating on Ibero-American fiction films and documentaries. This rival has acquired two of the most successful movies from Spain, Portugal, and Latin America this year: “The Blue Trail” by Brazilian director Gabriel Mascaró and “Deaf,” directed by Spaniard Eva Libertad. Both films have made a significant impact as they were both successful at Berlin Film Festival.

Moreover, the Ibero-American Competition brings to light stories that warrant greater recognition: notably, the introspective first feature by Gerard Oms, “Away” (“Molt Lluny”), featuring a standout performance by actor Mario Casas; the captivating “Martina’s Search,” directed by the consistently impressive Argentinian actress Mercedes Morán; and Puerto Rico’s “This Island,” which is part of an emerging Caribbean cinema that has been consistently earning top slots at film festivals.

Combining the largest aspects of Guadalajara’s festival lineup offers insights into where art-house cinema might be trending within this region.

A notable approach is definitely collaboration or co-production. Interestingly, out of the 12 titles in the Ibero-American fiction feature competition, nine involve partners from at least two countries. Remarkably, three films, namely “Bitter Gold,” “The Blue Trail,” and “The Cottage,” all have Chile as a partner, which is known for its frequent collaborations, participating in every one of them.

Brazil is back to the table, with five titles, as Chile; Argentina has just two. 

Many new solo films from Ibero-American creators are being released: More than half of the competitors in this region are debut or second films. Interestingly, many of these first-timers are well-established directors in their careers, such as Mexico’s Alejandro Zuno and Brazil’s Marcia Fária, who have already made a name for themselves by directing successful TV shows.

The surge in streaming content is additionally experiencing a rising trend: an increasing number of titles that offer profound insights into the world while maintaining high entertainment value, regardless if they’re comedic like “Cars, Pot & Rock ‘N’ Roll,” which masterfully captures the conflicting realities of Mexico, or the chilling undertones found in “The Cottage,” or the gripping narrative of “Bitter Gold,” which is part of a burgeoning cross-genre Chilean film scene.

In an interview with EbMaster, Daniela Raviola, the main producer of “Bitter Gold” from Juntos, explained that since they established the company, they have viewed themselves as a production house that strives to unite artistic perspective with the pursuit of larger and broader audiences.

Today, as streaming platforms become a dominant force in the world of cinema, there’s a growing trend that appeals particularly to younger audiences – the rise of streamers on both global and regional scales.

A breakdown of titles in Guadalajara’s Mezcal and Ibero-America Fiction Features competitions:

Mezcal Prize Titles, Focusing on Mexican Fiction Films, Doc-Features

Cars, Weed and Rock ‘n’ Roll: The Story of Mexico’s Woodstock” or simply “Road, Reefer and Rock: Mexico’s Legendary Woodstock

Cravioto, a renowned director known for his work on shows like “El Chapo” and now “Billionaires’ Bunker,” is sharing a humorous documentary about the Festival de Avándaro, an event that initially started as a car race but turned into Mexico’s equivalent of Woodstock. The conservative sector in Mexico criticized it severely as a chaotic scene filled with nudity, drugs, and danger. In response, the Mexican government clamped down on rock ‘n’ roll music, which took about a decade to regain its footing.

“Café Chairel,” (Fernando Barreda Luna)

In the idyllic harbor town of Tampico, “After Lucía” features Tessa la in a heartwarming second chance romance. Grieving individuals Alfonso (Maurice Isaac) and Katia (la) find solace by starting a café together, slowly discovering life’s joys anew. Directed by Barreda Luna for the second time, this film is a production of his label Nopal Army Films (“Crocodiles”).

In the beautiful coastal town of Tampico, “After Lucía” has Tessa la in a romantic story about getting a second chance at love. Characters Alfonso (Maurice Isaac) and Katia (la), who are going through tough losses, open a café together and learn to live again. Barreda Luna directed this film for the second time, with Nopal Army Films (“Crocodiles”) producing it.

“Crocodiles,” (“Cocodrilos,” J. Xavier Velasco)

Premiered at the Chicago Latino Film Festival in April, this gripping thriller is based on true events and draws inspiration from the murder of over 140 journalists and media personnel in Mexico during the past century. The story centers around young photographer Santiago from Veracruz, who undertakes his boss’s last investigation following her assassination by organized crime. This film marks the directorial debut of Velasco and is produced by Nopal Army Films.

OR

In April, the Chicago Latino Film Festival showcased a chilling thriller inspired by real-life events, particularly the murders of at least 141 journalists and media workers in Mexico this century. The narrative revolves around Santiago, a young photographer from Veracruz who takes up his boss’s final investigation following her assassination by organized crime. This film is Velasco’s directorial debut and is produced by Nopal Army Films.

OR

At the Chicago Latino Film Festival in April, audiences were introduced to a harrowingly realistic thriller that draws inspiration from the murders of at least 141 journalists and media personnel in Mexico this century. The main character is Santiago, a young photographer from Veracruz who picks up his boss’s last investigation after she was assassinated by organized crime. This film marks Velasco’s debut as a director and is produced by Nopal Army Films.

“Twelve Moons,” (“Doce Lunas,” Victoria Franco)

A film, “Twelve Moons,” competing in the Tribeca International Narrative Competition, features Ana de la Reguera as its lead actress, who was a main character in “Ana” and “Nacho Libre.” Lately, she has gained recognition for her role in Ariel Winograd’s successful Mexican production, “Una Pequeña Confusión.” In this movie, Ana portrays Sofía, a 40-year-old architect struggling emotionally following a loss and grappling with infertility and increasing addiction. Victoria Franco, who previously collaborated with her brother Michel Franco on the 2013 film “Through the Eyes,” directs “Twelve Moons.” The production of this movie is handled by Michel Franco, while distribution rights are managed by The Match Factory.

“Newborn,” (“Un Mundo Para Mi,” Alejandro Zuno)

A couple is informed that they cannot find out the gender of their unborn child. The father insists on a gender assignment, while the mother starts exploring intersexuality. This information comes from Zuno, who has won Best Director at Series Mania International Panorama and is also known for “The Secret of the River,” which was the top-watched Netflix show in Mexico for five weeks last fall. It was also featured in the Latin American Competition at Mar del Plata last year.

Documentaries

“At the End of the World,” (Abraham Escobedo Salas, Mexico, Belgium)

Following the 2022 documentary “Breaking la Vida,” the second full-length film by Escobedo Salas, revolves around Cecilio, a Lisbon squatter struggling with drug addiction. Along his journey, he discovers self-respect and camaraderie. This film is based on a 2021 short that earned a Mexican Academy Award nomination for the Ariel.

“Boca Vieja,” (Yovegami Ascona Mora)

Chosen for Berlin’s 2024 European Film Market Equity & Inclusion program, this film was shot in a small coastal village in Oaxaca, which experiences flooding during the rainy season. The villagers are worried that they may lose their land forever. Directed by Ascona Mora, who won Hazlo en Cortometraje with her documentary short “Mëët Naax” (With the Earth).

“Isleño,” (Cesar Talamantes)

In his latest project, Talamantes, who previously directed his acclaimed debut documentary “Los Otros Californianos” in 2012 about ranch dwellers in Baja California Sur, now explores even more distant territories – the remote islands of Baja. Here, he captures the daily struggles and breathtaking splendor of life on these islands, as well as the majesty of the Pacific Ocean.

I watched the raindrops, glowing under the flashes of lightning, and with each breath I took, I sighed, and every time I thought, I thought about you,” (in the original author’s style) – Pepe Gutiérrez, Carlos San Juan

or

“As the raindrops sparkled in the lightning’s glare, I sighed with each breath I took, and whenever I thought, it was always of you,” (in a more informal and conversational tone) – Pepe Gutiérrez, Carlos San Juan

A feature discussing the roots and evolution of colonialism will delve into the Manila-Acapulco Spanish trade route established in 1565 and active until 1815, which facilitated the exchange of New World silver with Chinese and Asian exotic items.

“To be Named Olympia,” (“Llamarse Olimpia,” Indira Cato) 

A depiction of Olimpia Coral Melo, a survivor of viral digital sexual abuse, who spent 13 years advocating for its criminalization in Mexico. The Olimpia Law, adopted in various Mexican states, was enacted as a result of her efforts. This film is directed by Cato, also the co-writer of the successful movie “All of Me” (2014), titled “Llévate mis amores.

Ibero-American Fiction Feature Section

“Away, (“Molt Lluny,” Gerard Oms, Spain, Netherlands)

In this movie, titled “Oms,” we follow the self-discovery journey of a character named Sergio, who happens to be Spanish and finds himself financially strapped in Utrecht, Netherlands. Mario Casas portrays Sergio, delivering what many critics consider one of his best performances yet. This outstanding acting earned him the Best Actor award at this year’s Málaga Film Festival.

“The Best Mother in the World,” (Anna Muylaert, Brazil, Argentina)

The critically acclaimed film “The Second Mother,” directed by Muylaert, sold globally by The Match Factory, showcases the wide social divide in Brazil. Muylaert’s newest Berlinale Special, titled “EbMaster‘s notes, delves into one woman’s resilient response to domestic abuse. Known for blending social commentary with emotion, this film is produced by Biônica Filmes, Telefilms from Argentina, and Galeria Distribuidora.

“Bitter Gold,” (“Oro amargo,” Juan Olea, Chile, Mexico, Uruguay, Germany)

In Northern Chile, the movie “Neruda” was filmed by Sergio Armstrong. The protagonist, Katalina Sanchez, is an adolescent who assumes control over her father’s mine. She navigates a challenging journey towards empowerment. This film is jointly produced by five entities, including Chile’s Juntos Films (“Immersion”), and follows Maite Olea’s second feature after “El Cordero,” which was released in 2014.

“The Blue Trail,” (“O último azul,” Gabriel Mascaró, Brazil, Mexico, Netherlands, Chile)

The most recent work of the first Brazilian filmmaker who significantly gained international attention, a generation after the ‘big four’ of Salles, Meirelles, Aïnouz and Kleber Mendonça, has been making waves. This director received a Berlin Special Jury Prize for “The Blue Trail”, which was awarded weeks before Salles’ Oscar nomination. The film is rich in sensuality and visually stunning scenes, serving as a precursor to the impending state-enforced segregation of the past.

“The Cottage,” (“La Quinta,” Silvina Schnicer, Argentina, Brazil, Chile, Spain)

As a passionate cinephile, I’m excited to share that I’ve come across a chilling family thriller with a unique twist – it’s titled “Snicer’s Solo Debut,” a film directed solely by Schnicer, who previously co-directed the award-winning “Carajita.” This movie delves into the complexities of human nature from an unexpected angle: children. As described by its sales agents, Luis Collar and Yeniffer Fasciani at Feel Sales, this story offers a fresh perspective on our dualistic nature.

“Cuerpo celeste,” (Nayra Ilic García, Chile, Italy)

This film, titled “Hormágica,” is a collaboration between Chile’s Oro Films (known for “To Kill the Beast”) and Italy’s Dispàrte, who previously worked on Maura Delpero’s “Maternal.” Following director Ilic’s first feature “Square Meter,” this film revolves around a 16-year-old girl struggling after her father’s death. She holds onto the hope for a fresh start with her mother.

“Deaf,” (“Sorda,” Eva Libertad, Spain)

Among the notable films of this year, both in Berlin and likely Guadalajara, is one that has garnered the Berlinale Panorama Audience Award and has been successfully sold to various countries by Latido Films. These include Australia (Madman), Japan (New Select), France (Condor Distribution), Germany (Piffl Medien), Italy (Lucky Red) and the U.K. (Curzon). The film, titled “Libertad,” is a poignant exploration of a pregnant deaf woman’s apprehensions about motherhood.

“Dreaming of Lions,” (“Sonhar com Leões,” Paolo Marinou-Blanco, Portugal, Brazil, Spain)

At the Black Nights Film Festival in Tallinn, the film that commenced the 2024 Critics’ Pick Competition is a somber comedy-drama about euthanasia, directed and written by Marinou-Blanco, a Greek-Portuguese filmmaker known for “Empty Hands” and “Goodnight Irene.” Denise Fraga from Brazil, who has previously worked on “The Other End,” portrays Gilda, a woman battling a terminal illness who finds a corporation that might assist her in passing away with dignity.

“Martina’s Search,” (“A Procura de Martina,” Márcia Fária, Brazil, Argentina) 

A screenplay penned by Gabriela Amaral (“Friendly Beast”) features Fária, who was nominated for the Palme d’Or for the short film “Estaçao”. This production is also expected to win the Best Latin America Film at Mar del Plata 2024. In the story, Mercedes Morán plays Martina, a 67-year-old woman battling Alzheimer’s. She discovers her grandson, born in captivity during Argentina’s Junta, may be living in Brazil. This revelation sets off a complex struggle against the ticking clock of time, the fog of forgetting, and the encroaching darkness of oblivion.

“This Island,” (“Esta isla,” Lorraine Jones Molina, Cristián Carretero, Puerto Rico)

Debut film of the directors, which will have its world premiere at the U.S. Narrative Competition of the Tribeca Film Festival in April, was acquired by Habanero Film Sales. This emotionally resonant and moving depiction offers a profound and intimate perspective on the Puerto Rican experience.

“Tiger,” (“Tiguere,” José Maria Cabral, Dominican Republic)

The newest work hails from a renowned filmmaker in the Dominican Republic, Cabral, whose film “Woodpeckers” was screened at Sundance.

In this story, the main character’s father is shown teaching young Dominican men an overly aggressive masculinity that reflects the dominant culture, which can be compared to behaving like arrogant nobles, a common characteristic of the male establishment.

“The Wild Years,” (“Los años salvajes,” Andrés Nazarala, Chile)

In this new work from director Nazarela (“Debut”), Ricky Palace – once overlooked as part of Chile’s ’60s New Wave – now finds himself in trouble as the bar where he plays in Valparaíso is shut down. This film is brought to us by Oro Films, a company that champions emerging talent from Chile and beyond.

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2025-06-07 15:19