As a seasoned film industry observer with over two decades of experience under my belt, I find myself captivated by the promising developments unfolding at this year’s Ventana Sur. This event not only showcases the vibrant and diverse Latin American film scene but also offers a glimpse into Uruguay’s burgeoning potential as a content powerhouse.
Observed from the 14th floor of its Radisson Hotel, Montevideo’s skyline, adorned with towering white marble buildings and monuments, presents a striking contrast to Ventana Sur, Latin America’s leading film-TV co-production forum and market, which has moved away from its elegant Buenos Aires location for the first time since 2009.
Indeed, in numerous aspects, this remains the familiar Ventana Sur, leveraging its strengths and energized by its environment – Uruguay, a rapidly expanding film-TV center within Latin America. It serves not only as an attractive production location but also nurtures its indigenous film industry.
During the arrival of producers and sales agents at the Radisson for this year’s event, which was organized by Cannes Marché du Film and Uruguay’s film and audiovisual agency Agencia del Cine y Audiovisual (ACAU), and took place from December 2nd to 6th in the capital city of Uruguay:
Attendance Holds
By Saturday evening, attendance had surpassed 2,000 delegates, indicating that we were on track to reach this number of industry professionals by the market’s conclusion. This is similar to the attendance at Buenos Aires’ Ventana Sur, according to Guillaume Esmiol, who serves as the executive director for Cannes Marché du Film and co-director of Ventana Sur. A quick glance through the list of sales agents reveals that almost all companies have a robust selection of Spanish-language or Brazilian titles. As Esmiol explained to EbMaster, response among sales agents and buyers towards this new edition was swift, with many making commitments as early as September.
Ventana Sur Industry Stars
As a passionate cinephile, I’m thrilled to share that Fede Álvarez, the Uruguayan filmmaker behind hits like “Evil Dead” and “Don’t Breathe,” will narrate his incredible journey through Hollywood, which now includes writing and directing “Alien: Romulus.” Additionally, some distinguished Uruguayan talents based internationally will conduct masterclasses. Among them is Mariela Besuievsky, an Oscar-winning producer known for her work on “The Secret in Their Eyes,” and Alvaro Brechner, hailed by EbMaster as one of the most promising South American screen talents to rise in the last decade.
Daniel Dreifuss, who won an Academy Award for producing “All Quiet on the Western Front,” is set to share his insights in a talk titled “On the Road to the Oscars: Keys to the Campaign.” Meanwhile, Juan Antonio Vigar, the director of Malaga Fest, will unveil upcoming projects that will be featured at MAFF (Malaga’s significant co-production and financing forum) in 2025.
Ventana Sur Classic Sections Remain
As a movie reviewer looking back, I can confidently say that Ventana Sur is not about throwing the baby out with the bathwater. This platform has been nurturing talent since its inception in 2009, with films from the very first Ventana Sur like “Leap Year,” which eventually won the prestigious Camera d’Or for Best First Feature at Cannes. Over the years, Ventana Sur has grown a core of premier sections, spearheaded by the Work-in-Progress (WIP) strands Primer Corte/Copia Final and Blood Window and Animation! These are the flagship showcases for Latin American genre and animation films, now expanded to Montevideo.
Some Top Titles
The most likely source of market excitement will come from a few chosen films in post-production and upcoming projects. For instance, the 80s-set Mexican women’s story “Vainilla,” backed by Stacy Perskie’s Redrum (“Narcos: Mexico,” Rodrigo Prieto’s “Pedro Paramo”), is creating positive murmurs at Primer Corte. Similarly, “The Condor Daughter,” a Quechua mother-daughter tale, has garnered attention in Copia Final. On the slightly artier side, “The Reserve,” set in historical firsts but filmed in black and white, won multiple awards at Morelia’s industry events. In the realm of animation, Hugo Covarrubias, a Chilean Oscar nominee (“Beast”), is debuting his first feature film, “Baptism,” while Pablo Aguëro, director of the upcoming “Saint-E” starring Vincent Cassel, Diane Kruger and Louis Garrel, is revealing his maiden animation project, “Gravityland.
The Name of Uruguay’s Ventana Sur Game: Amiability
In response to a question from EbMaster, the President of ACAU, Facundo Ponce de León, stated that Uruguay, despite being surrounded by large countries like Brazil and Argentina, can still host top-tier market/industry events, as demonstrated by this year’s Ventana Sur. When asked what unique qualities Uruguay could offer, Ponce de León replied that it is characterized by closeness, friendliness, and transparency. He emphasized that despite having only 3 million inhabitants, Uruguay’s small size is an asset in today’s world, as the human aspect to things matters. Indeed, initial impressions suggest that Uruguay’s hosts are going above and beyond to be accommodating, with detailed information provided across sections and a friendly demeanor throughout.
What Else Uruguay Will Bring to the Table
Uruguay has a lot more potential to contribute, particularly in its rapidly expanding film industry, which is considered one of the fastest-growing in Latin America. This advantage works both ways: It attracts large international productions, while also fostering local production, with as many as 38 feature films expected to premiere in 2023. The boost comes from revenue generated during shoots and government incentives, according to Ponce de León. Now, the goal isn’t just to produce more movies but to ensure they reach wider audiences through successful festival screenings and theater releases. Moreover, the audiovisual sector seems to be a focus for the newly elected center-left Yamandú Orsi of Frente Amplio.
A New Sandpit for the Cannes Marché
The focus in many market discussions was on logistics rather than deals at two film festivals. The unique location of Cannes Marché offers a fresh playground, presenting IFTA with an array of desirable opportunities. The heart of Ventana Sur is Montevideo’s Radisson Hotel skyscraper, surrounded by various venues all within a short walk: screenings at the Cinemateca featuring a charming café; a conference area at the Teatro Solis next door; another and the market’s exhibition booths at a nearby Sodre theater. Primer Corte/Copia Final screenings are closer together, allowing time for networking and meals, as pointed out by Esmiol. Networking and one-on-one sessions also facilitate opportunities to pitch producers and directors across different sections.
Uruguay: the Way Forward
At Ventana Sur, Uruguay can attract attention as a significant player in content creation, according to Diego Robino, a co-founder of Cimarrón – a Mediapro Studio company based in Latin America. He has worked on shows like “Amsterdam” for HBO, “Cometierra” for Prime Video, and “Las Maldiciones” for Netflix. The potential for further growth can come from several avenues. One approach is to aim higher with international co-productions, utilizing Uruguay’s tax incentives and attracting more prominent talent. Another significant opportunity lies in giving Uruguayan directors and screenwriters a chance to work on international productions if they can be brought to Uruguay, Robino suggests. Additionally, there may be an increasing number of lower-budget American film shoots moving to Uruguay due to post-strike production costs in the United States, as suggested by Santiago López, another co-founder of Cimarrón.
And More Buzz Titles
Among the promising contenders in the Proyecta section of Ventana Sur, Jô Serfaty’s “Beyond the Edge,” Jorge Cadena’s “Tropical Malaise,” and Ignacio Lasierra’s “Perseidas,” particularly starring Macarena García from “La Mesías,” seem to be standouts for me as a cinema enthusiast.
More Renewal
3Pas Studios’ Leonardo Zimbrón currently oversees a new workshop within the Latam TV Market, while also managing a project platform featuring projects such as “Expediente Letelier,” created by Felipe Carmona (known for “Prison in the Andes”), a hybrid documentary series led by Rafael Valdeavellano (“Chicago Boys”) and Nicolás Acuña (“Besieged”). Ventana Docs, now renamed, has refined its market focus, presenting only 12 titles including “Quinografía,” a biographical portrait of the reclusive Mafalda cartoonist Quino, and “Habana Libre,” an exploration of rebellious youth in Cuba. The screenplay showcase Entre Guiones no longer mandates projects based on literary intellectual properties, as noted by Esmiol.
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2024-12-02 15:17