Given the drastic reduction in federal support, there are fewer titles from Argentina and entries in Ventana Sur’s industry highlights, the Copia Final and Primer Corte, are more diverse.
Pamela Biensova, who shares curatorial duties with Juan Crespo and Eva Morsch Keene, says new voices from the Caribbean, Ecuador, Uruguay and Peru will be participating this year. “For example, there is a lot of anticipation for the Puerto Rican film Bladed (Trensadas), which is probably the first Puerto Rican film in several years,” said Biensova, a Chilean-French consultant, programmer and film critic who has been on the Locarno Film Festival selection committee since 2021.
The curation team also observed several adult submissions from both first-time and experienced filmmakers. “There were a lot of comedy projects this year. Sometimes it’s hard to find comedies that are really well done, so they were stronger than previous years,” Biensova pointed out.
“We found quite a few hybrid projects and films with unconventional stories, as well as traditional social dramas and coming-of-age social dramas,” agreed Moshe Keen, noting an overall increase in female filmmakers and family-themed stories.
“It’s true that we have this diversity that we’re very interested in, with proposals from both well-known and new directors, and highly anticipated films,” she said, citing Natalia Cabral’s “My Uncle’s Movie,” Kenya Marquez’s “Missing” and Colombian director Juan Andres Arango’s latest film, “Where the River Begins.”
“What has become clear over the years with the awards is the high quality of the acting, which is especially noteworthy, especially because we see strong performances from young actors,” said Morsch Keene, program coordinator of the Cinelatino Festival in Toulouse and member of the Venice Gap Financing Market selection committee.
“My evaluation prioritized titles with genre appeal, stories that drive global resonance, and projects that can be adapted to a broader exploitation market – elements that support sales and distribution across multiple territories,” said Crespo, founder of 3C Films, whose credits include the sci-fi thriller “5.5.5,” the action drama “Reus, La Vuelta al Barrio” and the series “King of the Whales” (“El Señor de las”). Balenas”).
“The goal was to position these films within a festival and buyer circuit that values commercially viable profiles, allowing for faster distribution deals and access to established markets,” he added, adding that while artistic merit remains a priority, this curation is aimed at attracting a wider audience without compromising quality.
“Working as a team with Pamela and Eva was a very enriching and educational experience, as they are both outstanding experts in their fields.”
Drilldown on this year’s selections:
primer corte
“Waiting for the Birds” (“Madre pajaro”, Sofia Quiroz, Argentina, Spain)
The production team behind the 2019 Cannes Critics Weekly title Black Ash, led by Sputnik’s Cecilia Salim and Mariana Murillo (Murillo Cine), reunites for this coming-of-age story that follows Oliver, 8, who stays with his aunt Paloma, 26, while his mother receives treatment in the capital. Oliver falls ill, faces loss, and is forced to cling to Paloma, who resists his maternal instincts. Starring Oliver Makhlouf, Isabella Nourifard, Julio Briceño, and Wendy Chinchilla. Supported by Ibermedia, El Fauno, Torino Film Lab and Berlinale Talent.
Waiting for the Birds, presented by Murillo, Sputnik movie
“Back to Back Copacabana” (“Bate e volta Copacabana”, Juliana Antunes, Camila Matos, Brazil)
This coming-of-age road drama, co-produced by Ventura with Globo Films and Canal Brasil, follows Paulinha, Gabi and Michele’s day trip to Copacabana as it turns into an eclectic night along a Brazilian highway. The film continues Ventura’s mission to amplify women and queer voices in Brazilian cinema, with support from BrLab São Paulo, Cinélatino de Toulouse, LoboLab – Mar del Plata and Brasil CineMundi.
“The Devil’s Well” (“Los Pozos del Diablo”, Jairo Voisier Olabe, Chile)
Produced by Cangrejo Films (Chile) in collaboration with Caviar Films (Argentina), Paideia Filmes (Brazil) and Mat Productions (France), the drama follows 15-year-old Judith, who can find underground water, as she uncovers a powerful avocado farm and a theft network possibly connected to her father. We are looking for a final post-production partner, with support from Cinéfondation Cannes, BAL-LAB Biarritz and Proyecta Ventana Sur. Producer Diego Pino Anguita says, “This film tells a poignant story about water scarcity and corruption.”
Devil’s Well, provided by Cangrejo Films
“The Good Charm Society” (“Waturapankiman”, Marina Herrera, Peru, Bolivia)
Produced by Desfase Films, China Salka Prods., Mestizo Films, and Empatía Cinema, the Bolivian co-producers behind the Toronto hit “The Condor Daughter,” the comedy follows Alexandra, who takes over her late father’s fortune-telling shop and embarks on a tarot-guided quest. The film, starring Luz Marina Asin, Olinda Flores and Enrique Araoz, marks Herrera’s feature debut (Berlinale short film “Heroínas”) and is seeking post-production funding. Herrera calls it “an experiment in unlearning cinema,” citing natural acting, improvisation, long takes, real space, and minimal editing to blur fiction and documentary.
“Petardos and Magnolia” (Sandra Reynoso, Mexico)
Amores Perros executive producer Francisco Gonzalez Compean of Draco Films will co-produce with Sebastián Jurado Dada and Jimena Basagren. The drama follows Vera, a young soccer star who is torn between his dreams and his father’s wishes. She falls in love with Alan, a bad boy at her school, and learns the dangers of love. The cast includes Jimena Lamadrid, Juan Daniel García Treviño, Andres Almeida, Mónica del Carmen, and more. “This is a fresh take on first love in a public school, a familiar but rarely depicted setting in Mexican cinema,” says director Reynoso.
“The Beginning of the River” (“Donde comienza el rio”, Juan Andres Arango, Colombia, Canada, Norway)
The drama follows Yajaira, a young mother from the Embera tribe, and John, a gang member, as they flee from Bogota toward the Andagueda River in search of a place to belong. Produced by Inercia Películas, Midi La Nuit and Satæer, supported by FDC, Sørfond, Telefilm and San Sebastian’s Dale Award. We are editing the first cut in Montreal and are looking for financing, distribution and sales partners. “This film reflects a country trying to reinvent its sense of belonging after decades of war,” says Arango.
The Beginning of the River, courtesy of Inersia Periculus
Copia Final (Final Cut)
“Braided” (“Trenzadas”, Raisa Bonet, Puerto Rico)
Written by Bonnet and Lillian T. Merrell, the drama stars Mar Cruz Abril, Jonaibet Cruz Manso, and Valentina Cruz Vazquez. Produced by La Nauta, the film is set in post-hurricane Maria Puerto Rico, follows a mother and her daughters as they search for a home amidst the devastation, and explores the effects of climate disasters on the human body. It was developed in the ARPA program of the Puerto Rico Film Commission and participated in EAVE Puentes, MAFIZ, Ventana Sur, and Nuevas Miradas. Films are “a mirror and a memory of what it means to survive, to belong, and to stay,” Bonnet says.
“Low Light” (“Lusco-Fusco”, Bel Bechara and Sandro Serpa, Brazil)
Producer Rafaela Costa is leading the co-production between the Manjélican and Macondo films, which portray Vera and Alda as neighbors and colleagues who bond through Alda’s granddaughter Joana. As both women face abusive relationships, their friendship becomes a source of resilience. The film, financed by Paulo Gustavo Law, participated in the Cinema en Construction – São Paulo/Toulouse, Cinemundi – WIP (Prize Mystica). “Overcoming violence against women is not only a personal cathartic journey, but also a collective journey,” Bechara says.
Low Light, courtesy of Manjericão Filmes and Macondo Filmes
“Missing” (“Se Busca”, Kenya Marquez, Mexico)
Produced by Puerco Rosa Productions and Rubicon Productions, led by helmer scribes Kenya Marquez, Jacobo Nazar and Janez Mora. The drama stars Rocio Guzman, Camila Caronico, Irene Yañez, Fabián Corres, Ishbel Bautista, and Tamara Vallarta. Rene, a rebellious teenager, flees her stifling parents and travels 1,243 miles to Juarez, Mexico, where she uncovers a personal revelation. The film, which was developed with funding from EFICINE and Focine Postproducción and support from the National Creador Arts Association, explores “motherhood, love and family bonds from a woman’s perspective,” says Marquez.
“My Uncle’s Movie” (“La pelicula de mi tio”, Natalia Cabral, Dominican Republic)
Natalia Cabral and Oriol Estrada wrote the screenplay, with the show’s stars Maia Otero, Steven Bauer (Breaking Bad) and Felix Germán (The Projectionist) penning the screenplay. The film follows Julia, a young film buff from the Dominican Republic who directs her uncle’s failed action film in order to secure funding, overcome family conflicts, and find her own voice. Participated in Cinelatino Toulouse, Panama Film Match, and Barrabo Biarritz. Supported by Ibermedia and the Dominican Film Act. Produced by L’Antica Studio, Faura Film and Casa Latina Film, it is produced by Jordi Gasso, Natalia Cabral and Gregorio Rodríguez.
My Uncle Movie, Courtesy: Lantica Studios
“She put her heart in the refrigerator” (“Ela Foi Ali Guardar o Coração na Geladeira” Cristian Oliveira and Gustavo Galván, Brazil)
Directed by Cristian Oliveira and produced by Crisol Films and 400 Films, the drama follows Luisa, who receives a video from a stranger in Uruguay that reveals shocking family truths. Starring Veronica Perrotta and Maria Galant. Featuring an original score by Sonic Youth’s Lee Ranaldo, with support from Paulo Gustavo Law, Toulouse-São Paulo’s Cinema en Construction, and Mostra WIP. “This is the first film my company has produced, and it’s a natural process born out of a specific narrative structure,” Oliveira says.
She Put Her Heart in the Fridge, Courtesy of 400 Filmes
“Passing Death” (“Las muertes pasajeras”, Agustín Banchero, Uruguay, Brazil, Germany)
Produced by Juan Álvarez’s Tarkiofilm in collaboration with Alissas (Brazil) and Plotres (Germany), and produced by Virginia Bogliolo, Clarissa Guarilla and Tom Schreiber, the drama follows Felipe, overwhelmed by the fear of impending fatherhood, who escapes on a fantasy-filled journey. The film, written by Agustín Banchero, has received support from ACAU, Incinée, Ibermedia, Montevideo Socio Audiovisual and the Hessian Foundation, and joins the Marché du Film, the Forum de San Sebastian and BRIFF, highlighting its strong international trade characteristics.
Passing Death, provided by Tarkio Films
