As I delve into the captivating world of Latin American cinema, I am struck by the profound and poignant stories that these filmmakers are sharing with us. Each one of them has a unique perspective, shaped by their personal experiences and the rich cultural tapestry of their homelands.
Emphasizing films, creators, and productions hailing from lesser-known regions in Latin America, the 2023 Open Doors showcase at Locarno signaled a transformative wave in Latin American filmmaking. This year’s selection delved into various aspects of this emerging change within the regional cinema scene. Here’s a glimpse at what we might expect for 2024:
The Genre Revolution
A significant number of young filmmakers from Latin America are adopting genre films, yet they’re not producing conventional B-movies. Instead, some are merging genres. For example, at the Open Doors Projects Lab, “Fiebre Caribe” is described as a multi-genre travelogue that combines elements of a Latin American vampire drama with comedic relief moments from culture shock, a lost romance investigation, a body horror tale, and for a brief period, an archive-historical reinterpretation, according to director Diego Andrés Murillo. Meanwhile, others are altering the genre. In the case of “The Periphery,” another project under consideration at the Hub, the voice – a queer, Gen Z, female filmmaker – has reinvented a somewhat common horror narrative with tropical heat and a cool vibe, as stated by producer Rob Maylor from Mental Telepathy Pictures.
The Rise of Women Producers
At this year’s Open Doors Screenings, Paz Encina, one of the prominent Latin American directors recognized at Locarno this year, will present her latest work titled “The Unique Time,” which won the prestigious Tiger Award at Rotterdam in 2022 for her previous project “Eami.” Interestingly, while she may be an exception at the Projects Hub, more women are making their mark as production forces in Latin America, particularly in arthouse and documentary sectors. In contrast, five out of eight projects at the Hub are directed by men. However, seven out of nine figures at the Open Doors’ Producers Lab are women, indicating a slow but steady progression.
The Social Focus Remains
Titled “UFOs in the Tropics,” this Ecuadorian production can be categorized as queer science fiction. Meanwhile, director Ernesto Bautista describes El Salvador’s film “Salvation” as a thriller with undertones of found-footage horror. Despite their genre differences, both movies carry significant social messages. As noted by Zsuzsi Bankuti, head of Locarno’s Open Doors, the film industry is closely tied to global politics and social issues, especially in Latin America where they are hard to overlook. Illustrative examples include films that delve into the past such as “The Unique Time” about Stroessner’s dictatorship, “Salvation” which addresses El Salvador’s Civil War, or “Chris & the Disciples” focusing on post-colonization.
A Lighter Tone
Many films are adopting a more playful approach. For instance, “99 Secrets,” presented by Camila Molina Wietchucter and directed by Alvaro Manzano, who has produced hits like “The Dog Thief” and “Chaco,” takes on the topic of social equality, as does Peru’s “Through Rocks and Clouds.” However, instead of a hard-hitting exposé, these movies use love at a quinceañera (in “99 Secrets”) and Peru’s soccer qualification for the FIFA World Cup (in “Through Rocks and Clouds”) as their primary storylines. Meanwhile, “The Return of the Last Mochica Warrior,” directed by Fernando Mendoza, is both a history lesson for young Peruvians and the first gaming film in Peru.
A drill-down on titles and figures at this year’s Open Doors:
Projects Hub
“Fiebre Caribe,” (Diego Andrés Murillo, Venezuela, Colombia)
Among Open Doors’ most ambitious and potentially widely-loved titles, we find a captivating story about Talyssa, a vampire who comes close to killing her partner. After the incident in New York City, she chases him across Caracas and over its mountains to the Caribbean. Torn between subsisting on blood from syringes, hunting wild animals, or embracing life fully, Talyssa embarks on this journey. The story takes place at Maldito Fantasma, an organization whose members are based in New York City, Caracas, and Buenos Aires.
“A Farewell to Lola,” (“Un funeral para Lola,” Iván De Lara, Dominican Republic)
As someone who has spent my entire life immersed in music and its various complexities, I find the synopsis of this upcoming film particularly intriguing. The dynamic between the two main characters – a jaded trumpet professor and his successful musician friend – resonates deeply with me, as I have seen similar relationships unfold within the world of music. The struggle to reconcile past resentments, navigate the treacherous waters of drug use, and confront betrayal is an all-too-familiar tale for many artists.
“Her Lightness,” (Rosa María Rodríguez Pupo, Cuba, Mexico, Colombia)
When cancer recurs in Nora’s (Lola Amores, “Wild Woman”) life, she chooses to disconnect from her family, relocate to a less affluent area, and take control of her own fate. Rodríguez Pupo describes “Her Lightness” as a tale that encompasses the genetics of my family, my female lineage, and the deceased. This production, being the debut feature of an innovative force in Cuban cinema, is overseen by Armando Capó, Cristina Gallego, and Martha Orozco.
“The Periphery,” (Rebecca Williams, Jamaica)
During a hot summer in Jamaica, two distant relatives reunite following a minor theft, only to be punished mysteriously by a local vendor. According to Williams, the goal is to create a horror/drama that authentically represents Jamaican culture, addressing themes such as sexuality, loneliness, and femininity. As Rob Maylor, the producer, explains, this production will draw upon traditional Caribbean folklore while challenging the norms of Caribbean cinema in innovative ways.
“The Return of the Last Mochica Warrior,” (“Huaco Retrato,”Fernando Mendoza, Peru)
Establish at Cybermuchik Cine in Peru and produced by Sylvia Eileen Arellano, this movie is touted as the country’s first gamer film according to Mendoza, who describes it as a blend of traditional storytelling with video game culture. In the plot, a player resorts to plundering his ancestors’ tombs to finance his gaming habits in cybercafes until he receives communication from the spirit of an ancient Peruvian warrior.
“Salvation,” (Salvación,” Ernesto Bautista, San Salvador)
As a movie enthusiast, I’m excited about an upcoming production that I’ve been closely following. It’s titled “This Intimate Project,” and it’s set in contemporary El Salvador. The narrative revolves around a nurse who is also a former war combatant, thrust back into her past when she receives some old cassette tapes from an elderly comatose patient admitted to our hospital. This project serves as a heartfelt ode to my homeland’s overlooked suffering, as shared by the writer-director, Bautista. Melissa Guevara, at Burn and Die Films, is producing this masterpiece in collaboration with DRaiz Producciones from Mexico.
“UFOs in the Tropics,” (Ovnis en el Trópico,” Rob Mendoza, Ecuador)
Raul, a lonely orchid grower in the tropical mountains spreads the warning he received via an enigmatic UFO contact. A mining company and homophobia threaten his mission, however. “An ambitious project that combines a unique aesthetic proposal with deep, relevant and current themes such as masculinities, sexuality, extractivism, and science fiction,” says producer Isabel Carrasco at Quito’s La República Invisible.
“The Unique Time,” (“El Tiempo Único,” Paz Encina, Paraguay-Mexico)
In Argentina, on the other side of the river from Paraguay, Lorenza (70) and Pedro (73), along with their children, anxiously wait for news about Paraguay and Máximo, their youngest son, who vanished at the age of 22. Then, all of a sudden, Alfredo Stroessner, the dictator of Paraguay, is overthrown. The storyline continues: “From an unyielding void that haunts them, each of them will embark on a unique journey.” This film comes from Sabaté Films of Paraguay (“Killing the Dead”) and Piano of Mexico (“Triangle of Sadness”).
Producers’ Lab
Luis Flores Alvarenga, “The Lost Boys,” (“Los Niños Perdidos,” Honduras)
Alvarenga mentions that “The Lost Boys,” a film directed by Enrique Medrano, is set in Honduras (specifically Thau) and was showcased at Locarno. This movie follows the lives of three indigenous children – one from the Garifuna, Lenca, and Tolupán groups – who meet at an orphanage. Co-produced with Amazona Producciones from Peru, this film sheds light on the hardships faced by indigenous kids due to social injustice while depicting their quest for freedom and hope.
Nicolás Carrasco, “Je vous salue, Peru,” (Peru)
In 2016, Walden Films, a Lima-based production and distribution company founded by Carrasco, was established. At the Open Doors event, it premiered “Je vous salue, Peru,” a film that showcases modern Peruvian cinema’s path in homage to Jean-Luc Godard, who is distantly related to former Peruvian president Pedro Pablo Kuckzynski. Carrasco described it as a movie comprising archives, cinema, documents, and fragments, some found, others created, catalogued, rewound, and sped up.
Wendy Desert, “Non, je n’ai pas trouvé l’Eldorado,” (Haiti)
In 2020, Desert established L’Autre Regard Films Productions in Haiti with the aim of fostering a vibrant Haitian cinema industry. The films produced by this company primarily focus on themes such as human rights, social justice, and identity. Currently, they are developing a feature documentary titled “Non, je n’ai pas trouvé l’Eldorado,” which explores the personal journey of its director, a young woman and mother, grappling with the complex issue of exile and the enticing illusion of an idyllic ‘elsewhere.’ According to Desert, this film will offer an intimate portrayal of her odyssey.
Andrea Fatecha Bernal, “Interlude,” (“Interludio,” Cuba)
A documentary film titled “Cinema Verité” by Julian Ortiz Gonzalez focuses on Wilfredo “Pichi” Chavez Garcia, the last lutenist in his rural Cuban province. Pichi is likened to a rare and endangered species struggling to survive amidst a rapidly progressing society that seems to be moving faster than he can create significance. This is according to Fatecha Bernal, a junior producer/observer at the Producers Lab during a collaboration with Cuba’s EICTV school.
Morena Guadalupe Espinoza, “Ariel,” (Nicaragua)
A creator of the popular show “Contracorriente” and a film producer at Nicaragua’s Collective Tecla Films, Espinoza, is working on a new project titled “Ariel.” This film takes place in a Central American village and follows teenage character Ariel as he attempts to heal his grandmother, who is gravely ill. As Espinoza shares with EbMaster, the story highlights the powerful bond between Ariel and his grandmother, the genuine friendships among teens, and the unique ability of Latin Americans to handle tough situations with a touch of humor.
Romola Lucas, (“Chris & the Disciples,” Guyana)
When Chris and his companions are found not guilty for murder, someone takes it upon themselves to deliver spiritual retribution instead. With “Chris & the Disciples,” Lucas aims to foster filmmaking growth in Guyana, raise consciousness about our ongoing colonization, and highlight instances where we have and continue to defy that colonization; Lucas is also the founder of the Third Horizon Film Festival.
Yamila Marrero, (“Lifetime,” (“Toda la Vida,” Cuba)
Marrero is a prominent documentarian in Cuba, known for producing several notable films such as “Azul Pandora” at Rotterdam, Alejandro Alonso’s “El Proyecto,” and Lázaro J. González González’s “Villa Rosa.” In the movie “Lifetime,” a father who is terminally ill with cancer requests his estranged filmmaker daughter to document his final illness stages. The footage serves as a poignant reflection on family, art, life, and Cuba, particularly during the Special Period and in contemporary times.
Camila Molina Wietchucter, “99 Secrets,” (“99 Secretos”), Bolivia)
Under the direction of debutant Alvaro Manzano, who is known for producing acclaimed films like “The Dog Thief” and “Chaco”, comes the film titled “99 Secrets.” This production, by Molina Wietchucter at Bolivia’s Color Monster, is a captivating teenage love story that unfolds at a quinceañera party in a cholet – a stunning Aymara mansion boasting indigenous motifs and flourishing in El Alto, the second city of Bolivia. With international appeal.
Patricia Velásquez, “The Pest That Surrounds You,” (“La peste que te rodea,” Costa Rica)
As a film enthusiast with a particular interest in foreign cinema, I find the upcoming production by Costa Rican director-writer-producer Velásquez to be quite intriguing. Having had the opportunity to delve into various international films, I can appreciate the unique perspectives they offer and the fresh takes on familiar themes.
Open Doors Screenings
“Black Mother,” (Khalik Allah, Jamaica)
A New York-based photographer and filmmaker, with roots in Jamaica and Iran, created a 2018 experimental documentary feature that showcases an ecstatic blend of reverence and realities from across Jamaica. This moving piece has been screened at Cinéma du Réel, Sheffield Doc Fest, Dokufest, and MoMA.
“Bionico’s Bachata” (Yoel Morales, Dominican Republic)
“Eami,” (Paz Encina, Paraguay)
In 2022, Rotterdam honored its top Tiger Award to a powerful piece featuring a resilient Ayoreo Totobiegosode girl from the Northern Paraguayan Chaco, who was sadly forced out of her forest due to deforestation. This artwork captures her memories of the landscape and folklore as she prepares for her journey. It received high praise, and it quickly gained attention and sales from MPM Premium, based in Paris.
“La Playa de los Enchaquirados,” (Iván Mora Manzano, Equador)
In 2012, a notable personality in Ecuador’s local film industry created a stir with two films – “No Autumn, No Spring” and “Yellow Sunglasses,” the latter being chosen by Outsider Pictures from the U.S. This same director, Mora Manzano, gained recognition at the 2022 Guadalajara Festival for their documentary feature “Playa.” The film revolves around Vicky, a transgender fisherwoman who finds acceptance in her fishing village, symbolizing a new era of gender inclusivity within the community.
“Lost Chapters,” (Laura Alvarado, Venezuela, U.S.)
Living partly in Barcelona and New York, this filmmaker concentrates her work around her family and literary pursuits, as seen in her debut piece “Los Capítulos Perdidos,” a unique blend of documentary and fiction. In this production, Alvarado’s sister portrays Ena, who uncovers a puzzling postcard during a trip back to Venezuela, leading her on an intriguing quest to find a prolific Venezuelan author known for writing under numerous pen names. The sequel, “Gótico Languido,” continues the story of Ena as she embarks on a book project and travels to Barcelona.
“The title ‘Skin of the Water’ (by Patricia Velásquez and Oscar Herrera, from Costa Rica and Chile)”
In my narrative, I delve into the tale of adolescents in contemporary Costa Rica, who find themselves ensnared within the restrictive boundaries of an affluent, upper-middle-class existence. Their lives are further complicated by the strife and vacuity born from the self-absorbed lifestyles of their kin.
“Through Rocks and Clouds,” (“Raiz,” Franco Garcia Becerra, Peru, Chile)
Nestled amidst the breathtaking Andes, a heartwarming drama unfolds, told in the native Quechua dialect. It revolves around a young alpaca herder harboring dreams of Peru qualifying for the World Cup after a gap of 36 years. This inspiring tale catches the attention of Luxbox, a reputable production company, ahead of its world premiere at the Berlinale’s 2024 Generation Kplus section.
“Uncivilized,” (Michael Lees, Domenica)
Establish at Lees’ One Off Productions and based on Dominica, a Caribbean island. Lees decides to live in the wild to ponder life’s profound questions, only to encounter Category 5 Hurricane Maria. As Lees points out, the film provides unique insights into life before, during, and after a climate catastrophe, coincidentally highlighting themes of development and climate change that were already central to the movie.
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2024-08-05 15:49