Three of Argentina’s foremost auteurs – “Rojo’s” Benjamin Naishtat, “The Third Facet of the River’s” Celina Murga, and “Two Pictures Fired’s” Martin Rejtman – will current new film tasks at a ninth Europe-Latin America Co-Production Forum, the trade centerpiece at this yr’s San Sebastian Movie Competition.
They are going to be joined by up-and-coming administrators similar to “The Heiresses’” Marcelo Martinessi, “The Sharks’” Lucia Garibaldi and “The Future Good’s” Nele Wohlatz in a lineup that’s lengthy on sturdy and pretty established Argentine expertise, has a clutch of recent Colombian administrators, and presses the pressing social-issue issues which have come to characterize Latin American cinema.
Catapulted to fame when Martin Scorsese government produced “The Third Facet of the River,” Murga will current “The Odor of Freshly Lower Grass,” a high-concept gender drama starring “Paulina’s” Dolores Fonzi and co-written with accomplice and fellow movie director Juan Villegas (“Las Vegas”).
Produced by Uruguay’s Montelona and Cimarrón, Garibaldi’s “The Final Queen,” her follow-up to Sundance laureate “The Sharks,” weighs in as near-future geo-political allegory. It activates Elisa, the final younger girl in a metropolis whose youth, after they come of age, are pressured emigrate to the North, a type of promised land the place “historical past is being made.” Elisa, nonetheless, refrains.
“Pobres Pibes” represents the fourth characteristic from Naishtat whose “Rojo,” a portrait of corruption and welling violence in pre-Junta Argentina, performed the Toronto Platform and San Sebastian competitors, loading up on the Spanish competition on prizes – director, actor (Dario Grandinetti) and cinematography – and dazzling some critics.
“¿Quién mató a Narciso?” bids truthful to change into the second characteristic from 2018 triple Berlinale winner Marcelo Martinessi, director of “The Heiresses,” which swept actress (Ana Brun), the then-called Alfred Bauer Prize for innovation and a Fipesci nod.
The founding father of the New Argentine Cinema, whose 1992 debut “Rapado” was chosen by Lucrecia Martel to display screen at Locarno this yr, Rejtman’s “El Repartidor está el camino” sums up in its title the bathetic humor distinguishing a profession which has impressed a complete new technology of Argentine filmmakers.
Venezuela’s Jorge Thielen Armand will current “La Cercania,” the story of a girl’s flight from Venezuela to France and craving to return. It marks the third characteristic from Thielen Armand, who impressed along with his second, “La Fortaleza,” which performed on this yr’s Rotterdam Competitors.
Arrange at Argentina’s Murillo Cine, “American Night time” is directed by Nele Wohlatz, who received greatest first characteristic on the Locarno Competition for “The Future Good,” which Selection welcomed as a “charming, humorous debut.” “American Night time” activates the typically fractious dynamics between film animal actors and their wranglers.
Amongst a trio of titles from younger Colombian administrators, neo-noir documentary “Anhell69” is Colombian Theo Montoya’s first characteristic, after his brief movie “Son of Sodom” was chosen for the Cannes 2020 Official Choice. A portrait of Colombian youth, grappling with suicide, drug overdoses and a “no future” mindset, “Anhell69 ” received this yr’s Tribeca All Entry fund and co-production from IBF Europe.
Camila Beltrán will pitch her characteristic debut, coming-of-age “The Day of My Beast,” supported by Proimágenes Colombia, after her brief movie “Pacífico oscuro” was chosen by Locarno 2020. Set in Bogotá in 1996, it activates Milagros, a 13-year-old woman who hears rumors that the Antichrist will arrive on earth throughout a photo voltaic eclipse.
Produced by director Franco Lolli (“Litigante,” “Gente de bien”), a 3rd Colombian challenge, “El otro hijo,” marks the characteristic debut by Juan Sebastián Quebrada, a Medellín-born director. His first brief movie, “La Casa del árbol,” co-produced by Colombia’s Evidencia and Why Not Productions in France, initiated in Toronto 2017 a fruitful worldwide competition profession.
Of different movies, Hungary’s Gyorgy Palfi, director of the memorably grotesque “Taxidermia,” and Karlovy Differ greatest director winner “Free Fall,” will introduce “Hen.”
Recipient of the Arte Kino Worldwide Prize at Rotterdam’s Cinemart challenge market final yr, Argentine Mateo Bendesky’s “The Fever” explores the warped psychological penalties of exorcism. Costa Rica’s Alexandra Latishev will introduce the home violence themed “Delirio.”
ninth Europe-Latin America Co-Production Forum
“American Night time,” (Nele Wohlatz, Argentina)
“The Anatomy of a Horse,” (Daniel Vidal Toché, Spain, Peru, Colombia)
“Anhell69,” (Theo Montoya, Colombia, Argentina, Romania)
“Ángeles,” (Paula Markovitch, Mexico, Argentina, France)
“Nearness,” (Jorge Thielen Armand, France, Venezuela)
“Delirium,” Alexandra Latishev, Costa Rica, Chile)
“The Day of my Beast,” (Camila Beltrán), Colombia, France)
“Everlasting Adolescent,” (Eduardo Esquivel, Mexico)
“The Fever,” (Mateo Bendesky, Argentina, Brazil, France)
“Hen,” (György Pálfi, Hungary, Mexico)
“The Final Queen,” (Lucía Garibaldi, Uruguay, Argentina)
“Recollections of a Burning Physique,” (Antonella Sudasassi, Costa Rica, Spain)
“Who Killed Narciso?,” (Marcelo Martinessi, Paraguay)
“The Different Son,” (Juan Sebastián Quebrada, Colombia, France)
“Pobres Pibes,” (Benjamín Naishtat, Argentina)
“Riders,” (Martín Rejtman, Argentina, Portugal)
“The Odor of Freshly Lower Grass” (Celina Murga, Argentina, Germany)
“Three,” (Diego Schipani, Argentina)