BARCELONA — Victor Gaviria’s “La Hora de los traidores,” and “Jean Gentil,” from Laura Guzman and Israel Cardenas, are among 26 co-productions that have pulled down coin from Ibermedia, the Madrid-based, multi-million dollar pan-regional film fund for Spain, Portugal and Latin America.
Guzman and Cardenas’ follow-up to “Cochochi,” “Gentil” turns on a Haitian intellectual who desperately tries to find a job in Santo Domingo. Mexico’s Canana Films will produce with Santo Domingo’s Aurora.
Produced by Colombia’s Fehrmann Films and Spain’s Sixaola and World Wide Media, “Traidores,” from Colombia’s highest-profile auteur, is a 1960s-set Western-style thriller charting a merciless manhunt for a renegade bandit, Sangrenegra.
It forms one of a trio of Colombian projects submitted for Ibermedia production funding, said Elena Vilardell, Ibermedia technical secretary.
The two others are Diafragma’s “La Sociedad del semaforo,” a social comedy directed by Ruben Mendoza, and Rhayuela Films’ “Garcia,” a co-production with Brazil. Jose Luis Rugeles directs.
Among higher-profile production houses, recipients of co-pro coin include Rizoma’s neighbors’ drama “Medianeras,” Jose Macias’ comedy “El Estado plasma,” co-produced by Panama’s Jaguar Films and Spain’s Oberon; animation pic “Brujerias,” from Spain’s Continental Producciones; and Gerardo Herrero’s thriller “El Corredor nocturno,” produced by Spain’s Tornasol.
From Chile, helmer Miguel Littin will direct the Ibermedia-backed “Isla 10,” an adaptation of politician Sergio Bitar’s memoirs about his time in a concentration camp under dictator Augusto Pinochet.
Ibermedia’s awards come as it announces two important innovations: a $1.6 million fund, backed by Ibero-American broadcasters, to buy free-to-air rights to 52 features from the region; and up to $50,000 a year to theater owners showing a commitment to films from Spain, Portugal and Latin America.
Also targeting development, distribution and training, Ibermedia co-pro grants aren’t large — up to around $200,000 per pic. But given most Latin America pics’ micro-budgets, the coin is often a deciding factor in a film getting made.