As I delve into these compelling narratives, I find myself captivated by the diverse stories and experiences that these filmmakers are bringing to the table. Each one of them seems to have a unique perspective, shaped by their personal journeys, that adds a richness and authenticity to their work.
This year’s Ventana Sur industry showcase, particularly the Primer Corte and Copia Final screenings in post-production, may feature standout films such as “Antitropical” by Camila José Donoso, “Eva” by William Reyes, and “In All My Journeys I Am Returning” by Manuel Ponce de Leon.
Written alongside Alejandra Moffat, who also worked on “Chile, ’76”, the fourth movie by José Donoso, titled “Antitropical”, represents an escalation in scope according to producer Roberto Doveris, known for his work on “The Prince”.
Making history, “Eva” is the inaugural film financed by the Honduran Institute of Cinematography. Co-produced with a spirit of collaboration between Colombia, where Candelaria Films joined forces with Reyes’ Opida label and Fosforito Films, this production was also associated with Jayro Bustamante’s esteemed La Casa de Producción, which trained the non-professional cast.
Luciana Piantanida’s “All the Strength,” Carlos Sánchez Giraldo’s “No Journey Without Return,” and “The Condor Daughter” by Bolivia’s Alvaro Olmos Torrico are second films directed by these talented individuals, who are recognized for their innovative production work.
In simpler terms, it seems that titles within the Primer Corte collection appear as initial works, implying they might be debut films. This is because the titles of Primer Corte and Copia Final do not seem to reflect grand ambition, suggesting that their directors or producers may not have extensive portfolios.
In the heart of 19th-century Colombia, free from the iron grip of Spanish colonialism, I found myself immersed in Manuel Ponce de León’s captivating work, “In All My Journeys I Am Returning.” This cinematic narrative is a personal exploration, a journey into the psychological impact of emigration. As a movie lover, I was enthralled by this thought-provoking portrayal of human resilience and the emotional turmoil that comes with leaving one’s homeland.
The movie titled ‘All My Strength’ initially follows a procedural format but later transforms into a fantasy drama. This production is a collaboration between Pensar con las Manos from Argentina, Dupla Films and Maretazo Cine from Peru, with Diego Vega (‘October’, ‘My Lucky Day’) as the director.
Copia Final’s “The Reserve” dominated Impulso Morelia. Rafaela Camelo, author of “The Nature of Invisible Things,” was chosen by EbMaster as one of their 10 Emerging Brazilian Writers to Watch in the previous year.
As a film enthusiast, I’m thrilled to share the latest news about the Primer Corte/Copia Final lineup, as it was just announced by Ventana Sur that they are introducing a new prize – the Dale! Award. This exciting recognition offers €10,000 ($10,700) for a Latin American work in progress, which has been co-produced with Europe. I can’t wait to see who will be the lucky recipient of this well-deserved honor!
The cash prize is backed by the umbrella bodies of public-sector film agencies in Ibero-America (CAACI) and Europe (EFAD). Contenders for that plaudit feature take in top Bolivian filmmaker Martin Boulocq, San Sebastian New Directors winner Ulises Porra (“Carajita”) and Santiago Esteves, who won fans with his first feature “Rey’s Education.”
Details of Primer Corte, Copia Final and Dale! titles:
PRIMER CORTE
“Antitropical,” (Camila José Donoso, Chile)
In ‘Antitropical’, Susy from the Dominican Republic assists Deisi, a newly arrived Colombian immigrant, in navigating the intricacies of the Chilean dating scene. Struggling to find her footing in this chilly city plagued by migration and racial tensions, Deisi is aided by Susy’s guidance. Producer Roberto Doveris (‘The Prince’) notes that José Donoso continues to utilize non-professional actors and weave narratives inspired by the authentic experiences of immigrant women involved in the sex trade in Chile.
“Girls Ground,” (“Tierras Niñas,” Zara Monardes, Chile)
In Ventanas, a coastal town dominated by heavy industry, Luz matures. As the title suggests, ‘Girls Ground’ explores the metaphor of growing up in an environment that harms all living creatures, according to producer Catalina Águila. This project is based at Chile’s CDD educational establishment, a thriving production center known for productions like “La Madre del Cordero” and “Sariri.
“The Bovine With the Curved Horns,” (“El bovino de los cuernos curvos,” Omar E. Ospina, Colombia)
During a power outage, someone roams through an abandoned village wearing a mask resembling a bull’s skull, as whispers about encounters with armed groups escalate. From La Fortaleza, built by students of Magdalena U, comes “Caribbean folklore and oral tales told from the perspectives of children and victims of massacres along the vast Ciénaga Grande de Santa Marta.” This is Ospina’s debut feature film.
As a seasoned film critic embarking on my cinematic odyssey, I find myself drawn to the captivating narrative of “In All My Journeys I Am Returning,” hailing from the creative minds of Manuel Ponce de León, Colombia, France, and Sweden. This intriguing title promises a profound exploration of life’s journeys, and I eagerly anticipate unraveling its layers as I delve into the world of this cinematic masterpiece.
The movie, titled “Emigration: A Psychological Journey,” is a unique perspective set in a desolate post-Independence Colombia, following 1819. This film is brought to you by Los Niños Films, and as described by its creator, Ponce de León, it delves into the human inclination to imagine, to yearn for a life that was once lost or aspire for a future life, one that may not even exist in reality. The story revolves around Karl and Petronella, a Swedish couple seeking fortune in this new land.
“No Journey Without Return,” (No hay ida sin retorno, Carlos Sánchez Giraldo, Peru)
The tale follows Amito, a character who thinks he’s human but finds himself drawn towards his dreams, leading him back to his roots to uncover the truth – that he isn’t entirely human. In this fantasy drama by visual artist Sánchez Giraldo and Peru’s Rima, Rima, we learn about Amito’s past lives as well.
“Vainilla,” (Mayra Hermosillo, Mexico)
In the late ’80s, a family of seven women from various generations and beliefs struggle to keep their home, as told through the eyes of the youngest, Roberta, who is 8 years old. This is the debut work of actor-turned-director Hermosillo, produced at Stacy Perskie’s Redrum, where she was a co-executive producer on “Narcos: Mexico” and a producer for Rodrigo Prieto’s “Pedro Paramo.
COPIA FINAL
“All the Strength,” (“Todas las fuerzas,” Luciana Piantanida, Argentina/ Perú)
Marlene, a middle-aged migrant caregiver, is tending to an elderly woman. In search of a friend who has vanished, she stumbles upon a community of women, all of whom possess extraordinary abilities. As the creators explain, this film focuses on individuals typically underrepresented in movies, addressing social issues.
“The Condor Daughter,” (“La Hija Condor,” Alvaro Olmos Torrico, Bolivia, Perú, Uruguay)
In a different rendition:
“I marvel at the peculiar habit I’ve observed – ‘Satan Puffs Tobacco’ and stores the stubs of his spent matches in the very same container. A fascinating study in contradictions, this.” (A Fascinated Observer, [Pseudonym])
A tale about growing up, where five siblings, left behind by their parents, find themselves influenced by their mentally ill grandmother. This relationship blurs the lines between reality and fantasy as they strive to remain united. The film is the debut production from CCC and Elias Querejeta Zine Eskola graduate Martínez Bucio.
“Eva,” (William Reyes, Honduras, Colombia)
Eva experiences conflict with her son, whose strong personalities collide, following the heart-wrenching death of his wife during childbirth. What makes this story unique is its authentic representation of a transgender protagonist grappling with themes that resonate universally, such as love and responsibility. This narrative offers a novel angle on parenthood and reconciliation, providing fresh insights. – Reyes’ perspective.
One possible paraphrase for the title “The Nature of Invisible Things” could be “Understanding Hidden Realities,” or simply “Hidden Reality’s Essence.” The Portuguese titles, “A Natureza das Coisas Invisíveis” and “Sangue de Minha Sangue,” can also be paraphrased as “The Nature of Invisible Things” (or “Understanding Hidden Realities”) and “My Blood’s Blood,” respectively. The author, Rafaela Camelo, is Brazilian-Chilean, which provides a rich cultural context for the work.
10-year-old Gloria spends her vacation at the hospital alongside her tirelessly working mother, a nurse. During this time, she forms a strong connection with Sofia, believing that her great-grandmother’s deteriorating health is due to her admission into the hospital. According to Carmelo, even though the movie primarily focuses on the subject of death, it requires an uplifting tone to delve into more profound emotional realities. The project is backed by Projeto Paradiso, a Cinemundi, Biarritz BAL-Lab, and Cabíria award winner.
“The Reserve,” (“La reserva,” Pablo Pérez Lombardini, Mexico)
At October’s Impulso Morelia, a principled park ranger successfully persuades her community to oust illegal loggers from their natural reserve, unknowingly triggering a much larger danger. Filmed with non-professional actors in Chaipas, the movie is set in an environment where a genuine conservation struggle occurs daily, as explained by co-writer Liliana Pardo.
DALE
“Criminal Body,” (“Cuerpo Criminal,” Martin Boulocq, Bolivia, Argentina, France, Germany)
The movie, a blend of genres, is filmed in a peaceful Bolivian village, with Bolivian director Boulocq (“The Visitor”) leading the production team. This ambitious project, one of Dale’s largest co-productions, is a collaboration between Bolivia Cq Films, Argentina’s Maravillacine, France’s L’Œil Vif, and Germany’s Weltfilm. The story revolves around two local residents, one of whom is hired to portray the monster.
“In All My Journeys, I Am Returning”
A Primer Corte title.
“Olivia,” (Sofía Petersen, Argentina, U.K., Spain)
Filmed in 16mm Ektachrome within Tierra del Fuego, this drama centers around a complex father-daughter relationship, unfolding at their mountain residence near his workplace, a slaughterhouse. This is Shaun Finneran’s first feature film, produced by Animitas, an Argentine company renowned for the silent short “Alone Sleeps the Water, Frozen She Awakes,” which was well-received in festivals, and “Passing Place” that garnered the Grand Jury Grand Prix at the 25FPS Festival 2021.
“Punku,” (J.D. Fernández Molero, Peru, Spain)
Originally thought dead, a boy is discovered alive in the Amazon jungle by Matsigenka teenager Meshia. As he gradually recovers, struggling with disturbing nightmares, Meshia’s family extends an invitation for him to live in the city and pursue his dreams. This film, developed over a ten-year period using collaborative and community-focused filmmaking techniques, is directed by someone who points out its significance. It represents the most substantial project so far from Tiempo Libre, Peru’s non-profit studio, which also produced “Videofilia,” a Rotterdam Tiger Award winner. The post-production of this movie was supported by Tabakalera’s 2deo Audiovisual Lab for residency programs.
“The Reborn,” (Santiago Esteves, Argentina, Chile, Spain)
In his first feature film, “Rey’s Education,” Esteves made a debut. Now, he’s back with a new production that combines a romantic drama with a nail-biting thriller: Two estranged brothers who harbor intense hatred are caught up in the web of faking deaths and international smuggling. A complex operation goes wrong. According to Esteves, “Through a tumultuous and claustrophobic journey, they undergo a transformation.” This film is produced by Le Tiro (The Prince, The Other Son), El Otro Film, and Zabriskie Films (“Upon Entry”).
“Under the Same Sun,” (“Bajo el Mismo Sol,” Ulises Porra, Dominican Republic, Spain)
The third film by San Sebastian New Directors winner Porra (“Carajita”) starts in 1819, and follows an historically significant story about three distinct characters: Lázaro, a wealthy trader’s son turned entrepreneur; Mei, a skillful Chinese silk expert; and Baptiste, a deserter from the Haitian army. Together, they attempt to establish the Dominican Republic’s first silk factory. However, Lazaro’s doubts and desire for more put the project at risk.
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2024-11-12 22:21