As I delve deeper into the captivating world of Latin American cinema, I find myself deeply moved by the profound and personal stories that these films bring to light. “The Last Witness” is a poignant journey through Chilean history, as seen through the eyes of photographer Luis Poirot. The narrative’s climax, with Poirot’s 1973 photos projected onto the facade of La Moneda, offers a haunting and powerful reminder of the past that still lingers in our collective memory.
At the 20th Santiago International Film Festival in Chile, Francesc Relea’s “The Last Witness,” Alejandra Carpio’s “Concert for a Single Voice” and Martín Boulocq’s “Criminal Body” are included in an extended Sanfic Industria Ibero-American Work In Progress. This showcase is one of the key events within the festival’s industry sector.
Typically, there are eight entries. However, the number of titles has been boosted to ten this year, as Gabriela Sandoval from Sanfic Industry shared with EbMaster, due to a 50% increase in submissions compared to 2023.
Showcases the post-pandemic resurgence of manufacturing in Latin America, alongside the growing attractiveness of Sanfic Industria’s profile, which is the principal summer movie industry gathering in the region.
Showcasing the robust build of genres by Sanfic Industria’s Sanfic Morbido Lab across Spain and Latin America, with fresh projects this year from Caye Casas and Guillermo Amoedo, Sanfic Ibero-American WIP presents a variety of genre films. Ranging from science fiction like “The Clearing” to the gritty production in “Criminal Body.”
Embracing a roster of five female filmmakers, the Ibero-American Work in Progress (WIP) highlights the significant strides made towards gender equality in Latin American cinema over the past decade. However, it’s crucial to acknowledge that this is an ongoing process, particularly when it comes to the representation of women directors in the movie industry.
Titles highlight women prominently, emphasizing impending changes in the mother-child bond (“Days with Her”), showcasing their strength and resilience (“The Beauty of the Present Moment”), and focusing on their interests beyond motherhood, which are not understood by their children (“A Solo Performance”).
These are films made by resolute cinematographic film-makers.
“Scarvaci shares that he’s drawn to movies that manipulate language. ‘The Days With Her’ certainly supports this, as seen in its lengthy emotional responses, thoughtful framing within the shots, and strategic character placement – all these aspects contribute significantly to the storyline.”
As a passionate admirer, I’d like to highlight that numerous works-in-progress masterfully portray the battles that filmmakers from Latin America are engaging on various fronts. They vividly depict ongoing neo-colonialism struggles, particularly within the film industry (“Criminal Body”), the challenges and necessity of reconciliation (“Death Brought You Back”), and the fight to preserve historical memory, as seen in “Will They Ever Come Back?” – a poignant task undertaken by one daughter.
Documentary “The Last Witness” showcases the remarkable life story of Luis Poirot, who began as a young photographer documenting Salvador Allende’s 1970 presidential campaign. Now, over five decades later, he continues to capture moments through his lens – from portraits and events like the iconic Los Bunkers concert during the 2019 Estallido – demonstrating an unwavering passion for preserving memories. “I’ve been consumed by memory,” Poirot explains, sharing not just his photographs but also his personal experiences, such as the tragic torture and murder of his friend Victor Jara at the hands of Pinochet’s security forces.
The 2024 Sanfic Industria Ibero-American WIP Lineup:
“The Enchantment of the Present,” (or “El Encanto del Momento,” in Spanish) by Manuel Berisso and Rodrigo M. Malmsten, Spain/Belgium. This paraphrase aims to keep the essence of the original title while sounding natural and easy to read in English.
Title character Inés, an artist, learns she’s pregnant and finds out she has Huntington’s disease. With her romantic relationship ended, she confronts her destiny with the support of friends and her deep-rooted love for painting. The film, featuring Moro Anghileri as Inés, is shot in academy aspect ratio and portrays the unpredictable nature of illness in an intimate, moving way, transitioning from trivial moments to relentless ones. The movie, produced by Luminosa Ventures Films, Uxen 7 Arts, and Be Revolution Pictures, showcases Inés’ resilience as she declares, “I am Inés. I am alive.”
“The Clearing,” Maira Carrasco (Chile)
As a passionate advocate for “The Clearing,” I’m delighted to share that this captivating production, brought to life by Cine UDD and brilliantly penned by Carrasco and Valentina Reyes, is set amidst the bustling backdrop of modern-day Santiago. The story unfolds around a young medical student who embarks on an extraordinary journey into a virtual reality world, in a heartfelt quest to reconnect with his deceased beloved.
One possible way of paraphrasing the title “Concert for a Single Voice” in natural and easy to read language could be “Solo Voice Concerto” or simply “Concerto for One Voice.” The original Spanish title “Concierto para una sola voz,” by Alejandra Carpio Valdeavellano from Peru, conveys the same meaning.
Adopting the perspective of Nicolás, a Peruvian who is part of the European student elite and resides in Paris in 2007, pursuing a scholarship to study in London. However, his plans are disrupted when he’s compelled to confront his mother in Lima, who had abandoned him for political activism. This setup carries a strong impact. “Despite any distance or disparity, people can connect,” Carpio Valdeavellano remarks, emphasizing the ability of humans to form bonds, regardless of their differences or opposing views.
“Criminal Body,” (Martín Boulocq, Bolivia, Argentina, France and Germany)
As a passionate movie enthusiast, I’ve been captivated by productions from Bolivia’s Cq Films, Argentina’s Maravillacine, France’s L’Œil Vif, and now Germany’s Weltfilm. This genre-blending masterpiece weaves together chilling horror, thought-provoking documentaries, and compelling fiction narratives. The movie within the movie follows a unique tale set in a tranquil Bolivian village, where an American film crew enlists two locals to take on pivotal roles. One, Miguel, transforms into a monstrous minotaur figure as a bodybuilder, while Marcos, a humble peasant, contributes his bulls for the production. As they embark on this symbolically unnerving journey together, they confront an experience that challenges their understanding of reality and fiction.
“The Days With Her,” (“Los Diás con Ella,” Matias Scarvaci, Argentina)
In Buenos Aires’ Eceiza prison, where Alejandra has spent 12 years, she cares for her two-year-old daughter Aithana, knowing they must part ways when Aithana turns four. This heartbreaking situation spawns “The Days with Her,” a story that grapples with the agonizing quest for restitution. Scarvaci, who appreciates robust characters and narratives with social relevance, films with a distinctive perspective, and can convey multiple levels of meaning, explains his interest to EbMaster.
“Death Brought You Back,” (“La muerte te vio volver,” Sebastián Cuevas, Chile)
In my perspective, returning to my childhood home after my mother’s illness and the prospect of an inheritance stirred up a whirlwind of emotions within me. I found myself faced with the challenge of repairing long-dormant relationships while navigating through these feelings. This poignant story of reconciliation and forgiveness is a captivating production by Catalina Alarcón at Praxia, an outfit based in Southern Chile, and Mala Films, situated in Santiago. Paula Armstrong collaborated with Cuevas on the screenplay for this heartfelt project.
“The Last Witness,” (“El Ultimo Testigo,” Francesc Relea, Chile, Spain)
Starring Isabel Allende, Pablo Larraín, and Alfredo Castro, this film showcases Chilean photographer Luis Poirot as he unearths treasures from his archive. These images range from candid shots of Allende during her 1970 campaign to poignant images of the bombarded Presidential Palace de la Moneda following Pinochet’s 1973 coup, glimpses of Pablo Neruda at his desk in Isla Negra, and heartfelt moments with friend Victor Jara. The film concludes in 2023, with Poirot capturing the same images of La Moneda that he took in 1973, which are then projected onto the palace’s facade. This could be a particularly exciting segment to look forward to.
“Laureano,” (Claudia Ccapatinta, Peru)
The story unfolds using close-up shots, focusing on Laureano, an elderly and charismatic Quechua speaker, as he maintains the communal lands for housing. Following the death of his mother, he must grapple with a challenging choice: remaining in the village that has always been home or moving with family to the city. This project, produced by Jaisia Figueroa from Nomada Producciones and Lazaro, won the top honor at WIP Labs in both Bolivia and Vancouver.
“Water Never Hurt,” Ana Clara Bustelo (Argentina, Uruguay)
In collaboration, Argentina’s Golden Fish Creative Company and Uruguay’s La Mayor have crafted a fictional tale titled “Water Never Hurt.” This film challenges our conventional understanding of childhood as vulnerable, feeble, and delicate. Instead, it offers an intriguing perspective where children can exercise decision-making abilities in their lives, fostering family discussions at even tender ages. As the producers shared with EbMaster, this thought-provoking production aims to open up conversations about child agency and empowerment.
“Will They Ever Come Back?” (Ángela Carabalí, Colombia)
Angela and her sister, Juliana, travel throughout Colombia to locate the Indigenous territories where their father, a farmer of African descent who went missing, once lived. For three decades, Angela has refused to be identified as a victim, but a dream in which her father asked her to find him compels her to revisit her past. The production companies Sandelion Productions and Carabalí Films & New Media are responsible for this documentary feature. With backing from the Sundance Institute and the William Graves Fund, the film has taken part in numerous workshops, such as the Sheffield DocFest MeetMarket and BAM in Colombia.
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2024-08-09 21:20