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Z365" or "Festival all year round" is the new strategic point of the Festival in which converge investigation, accompaniment and development of new talents (Ikusmira Berriak, Nest); training and cinematic knowledge transfer (Elías Querejeta Zine Eskola, Zinemaldia + Plus, Filmmakers' dialogue); and investigation, disclosure and cinematic thought (Z70 project, Thought and Discussion and Research and publications).
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Highly awaited new movies from Chile’s Sundance-prized Alejandro Fernandez Almendras and Marialy Rivas, plus Uruguay’s DanielHendler, are set for San Sebastian’s Films in Progress pix-in-post competition.
Dominated by Chile –with three out of six titles –this year’s Films in Progresslooks an incendiary edition with all six directors casting a sometimes sardonic gaze at often hot-button issues now driving Latin Americans onto the streets in mass protest.
All three Chilean movies are based on true-life cases, a sign of how thecontinent’s cinema is being overtaken by reality.
Almendras’ Much Ado About Nothing is set up at Jirafa Films, producer of the latest films by Alicia Scherson (The Future) and Marcela Said (2015 Berlin Co-production winner Los Perros). It is inspired by hit-and-run cases such as that of Martin Larrain, the son of a bigwig conservative politician.
The Princess is set up at Chile’s Fabula, producer of Gloria and Pablo Larrain’s No, The Club and now Neruda, with No star Gael García Bernal. Retaining the religious background of “Young & Wild,” The Princess appears to up the ante. This time round, the protagonist is an 11-year-old girl, a family sect memberchosen to procreate the leaders of a new world order. But her transition to womanhood proves violent as she explores her sexuality with a boy at school.
There’s good word-of-mouth on the third Chilean Films in Progress title, Rara,from Pepa San Martín which narrates how a Chilean judge who lost custody of her children for being a lesbian.
“A comedy with political thriller elements,” per thesp-helmer-scribeproducer Hendler, a Berlin Silver Bear best actor for Daniel Burman’s Lost Embrace, The Ambush (aka The PidgeonHouse) charts the shenanigans of Latin America’s political classes, as gurus and consultants design a brand image for a politico on-the-make. Producer Micaela Sole presented The Ambush at San Sebastian’s 2012 1st Europe-Latin America Co-production Forum. In The Cambridge Squatter, Brazilian vet Eliane Caffe returns to the world of 1995’s Caligrama in a portrayal of Sao Paulo’s homeless - their joys, dramas, divergences, and constant fear of eviction.
Rolling off yet another true-event, Venezuela’s 1988 El Amparo Massacre, when soldiers special force police killed 14 fishermen, alleging –spuriously – that they were guerrilla operatives. Roger Calzadilla’s Sobrevivientes tells how the only two survivors have to battle for their lives, even after the massacre.
JOHN HOPEWELL
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