San Sebastian WIP Latam, WIP Europa: The lineup
Argentinian Manuel Abramovich, Ecuadorian Ana Cristina Barragán and Ukrainian Oksana Bychkova, all winners of major festivals, will present their latest films to an industry audience in the pix-in-post shutters of San Sebastian, WIP Latam and WIP Europa, September 20. -22.
The sections promise discoveries. They also highlight a reality. As art film pre-sales have plunged, public sector equity financing has intensified, with producers tapping into film funds around the world through international co-production. WIP Latam’s six films have an average of four production partners each. Sales, which films are now seeking in San Sebastian, are increasingly the icing on the cake.
A zoom on the titles:
“Daughter of Rage”, (“La Hija de Todas las Rabias”, Laura Baumeister, Nicaragua, Mexico, Netherlands, Germany, France, Norway)
The moving debut feature by Nicaraguan Laura Baumeister which won three of the four awards offered at the 2019 Europe-Latin America Co-Production Forum in San Sebastian. Since then, the number of production partners and plot details has increased, turning against 11-year-old María, who is seething with rage at her mother’s abandonment of her at a landfill in Managua, the capital of Nicaragua. She uses her dreams to explain what happened.
“Dos estaciones”, (Juan Pablo González, Mexico, France, United States)
The heiress of a traditional tequila factory in the highlands of Los Altos de Jalisco fights plague, floods and above all the foreign pressure that stifles her business and her identity. The first feature film by Mexican director Gónzalez, including “Por qué el recuerdo” (2014) was screened at the Cannes Critics’ Week.
“A male,” (“Un varón”, Fabián Hernández, Colombia, France, Netherlands, Germany)
The first feature film by Colombian Fabián Hernandez, starring Carlos, a student at a boarding school in Bogotá, forced to hide his sexuality, feigning male stereotypes with which he does not identify.
“Octopus skin” (“La piel pulpo”, Ana Cristina Barragán, Ecuador, Greece, Mexico, Germany)
Developed during a Sundance Morelia workshop, another feature film by rising Ecuadorian writer-director Ana Cristina Barragán, exploring the complexities of human relationships. It follows her acclaimed debut, Alba, Ecuador’s Oscar submission. Here on a rocky island, the fraternal intimacy of two twins exceeds normal limits. Shocked by her mother’s suicide, sister Iris decides to go to town alone for the first time.
“Pornomélancolie” (“Pornomelancolía”, Manuel Abramovich, Argentina, Brazil, France, Mexico)
A documentary about Lalo, who lives in the mountains of Mexico and is a sex influencer. He is also HIV positive. Reflecting on “the limits of intimacy at a time when everyday life and subjectivity have become a spectacle for the gaze of others,” said Abramovich, Pornomelancholia imagines Lalo moping in real life in the face of his existential emptiness. Produced by Gema Juárez Allen at Gema Films in Argentina (“Lina de Lima”) with Rachel Daisy Ellis at Desvia in Brazil, co-writer and producer of the Sundance hit Divine Love, Dublin Films in France and Martfilms in Mexico – a pedigree producer package.
“Vicenta B.,” (Carlos Lechuga, Cuba, Colombia, Netherlands, France)
Lead produced by Claudia Calviño at Cacha Films in Cuba, sold by Habanero, the third feature film by Carlos Lechuga, whose Father Christmas and Andrés played the Latino Horizontes of Toronto and San Sebastián in 2016. Here, in a sound production , a modern day santera Havana, who can see people’s futures, is turned upside down when her son leaves Cuba, unable to understand what is going on in her life or why she is left alone in Cuba.
“Carbon,” (Ion Borș, Republic of Moldova, Romania)
A debut feature film by Moldovan Bors, whose debut short One Less One More won the award for best first international short film at the Huesca Film Festival in Spain. Set in the 90s, Carbon sees Dima and Vasea enlist in the military. On their way to the front, they come across a charred body and try to establish its identity.
“A hero of our time”, (“Zamanimizin bir Kahramani”, Mirac Atabey, Turkey)
An alumnus of Europe’s Doc Nomads masters program, Atabey makes his feature film debut with the story of middle-class Mert who leaves his comfortable life in Istanbul to organize a funeral service for his father in a small village in Anatolia. On which, in three days, his life collapses.
“A long break” (“Didi Shesveneba”, Davit Pirtskhalava, Georgia)
Georgian Pirtskhalava, whose first short, Father, won Locarno’s Golden Pardino, is making his first feature film, in which Tsitsi initiates a school reunion, 13 years after leaving school, with the secret mission of punish the old school bully. “In my school, bullying, mistreatment and beatings were almost the daily norm,” Pirtskhalava recalls. Whether a still traumatized Tistsi will demand any cathartic revenge is another question.
“Lucky girl,” (“Ya, Nina”, Marysia Nikitiuk, Ukraine, Germany)
The second feature film as director of the booming Nikitiuk whose first, When the Trees Fall – a coming-of-age tale mixing genres and blending a local crowd subplot and magical realism – has attracted attention when it was released to the market by Latido Films in Berlin in 2018. Nariman Aliev’s Homeward selection, which she wrote, for Un Certain Regard at Cannes 2019 also established her as a filmmaker to be continued. Based on real events, Lucky Girl traces the emotional free fall of a TV star after being diagnosed with cancer and losing an arm, until she accepts an experimental treatment that allows her to survive. fight for his life.
“Mission to Mars” (“Misión a Marte”, Amat Vallmajor, Spain)
Catalan director and former student of Elías Querejeta Zine Ezkola in San Sebastián, Vallmajor imagines what is described as a futuristic road trip through a family past: in a post-apocalyptic Basque Country, two brothers are in charge of a mission on Mars . They will need Sister Mila, some ghosts, and Jesus Christ to complete their journey. Allegorical lo-fi science fiction.
“Nina”, (Oksana Bychkova, Russia, Georgia)
The latest from the best-known director of WIP Europa, whose films almost always do something about it. In it, attractive and successful almost 40-year-old Nina in a stable marriage receives a call from ex-boyfriend Ruslan who is gravely ill and asks her to come to Tbilisi to see him, possibly for the last time. “Nina is going to town to support Ruslan as a friend,” the synopsis explains. “She is sure that she loves her husband and that she will be returning home soon.” But this short trip will be his last.
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