'Olvido,' 'Vida,' 'Parque' among selection

MADRID — Heddy Honigmann’s “El Olvido,” Christian Poveda’s “La Vida loca” and Enrique Rivero’s “Parque Via” will screen at San Sebastian’s Horizontes Latinos panorama of contempo Latin America movie-making.

Fest section, which looks particularly powerful this year, carries a Euros35,000 ($51,450) cash prize.

Horizontes opens with “El Olvido,” a docupic from Holland’s Honigmann, whose “Forever” competed at San Sebastian in 2006. “Olvido” contrasts memories and need to forget in a forgotten country, Peru.

Both “Olvido” and “Loca,” as Mirtha Ibarra’s already announced “Titon, de la Habana a Guantanamera,” world preem at San Sebastian.

Elsewhere this year, Horizontes mixes a clutch of admired and often-prized major fest titles with pics that have curried favor at smaller meets.

Set in a futurist, high-tech dystopia, “Sleep Dealer,” from Alex Rivera, won the Waldo Salt Screenwriting Award at Sundance.

Pablo Trapero’s “Lion’s Death,” with Martina Gusman turning in an admired perf as an unjustly jailed pregnant woman, played to largely positive reviews in Competition at Cannes.

Uruguayan Federico Veiroj’s “Acne,” a none-too-rose-tinted coming-of-ager and “Tony Manero” — a memorably unseemly drama about a Tony Manero imitator in Santiago de Chile under Pinochet — were two of the relatively few standouts this year in Directors’ Fortnight.

Yulene Olaizola’s “Intimacies of Shakespeare and Victor Hugo,” about a woman who discovers more than she likes about a former close friend, topped Buenos Aires’ now highly prestigious Bafici Fest.

If one theme dominates Horizontes this year, it’s violence: its implicit causes, sudden eruption or prevalence as a culture.

“Loca” portrays El Salvador’s fearsome Mara gangs. Pablo Fendrik’s “Blood Appears,” which took a Young Critics’ Award in Cannes Critics’ Week, ends with a gruesomely bloody family faceoff.

Albertina Carri’s “La Rabia,” a Patagonia-set parable of adultery and hatred and “Via,” which took Locarno’s top Golden Leopard earlier this month, are also slowboiling studies of violence.

“Dog Eat Dog,” from Colombian first-timer Carlos Moreno, is set in a crazed crime world of psychopaths and vendettas.

Of not-so-well-known pics, “Heart of Time,” directed by Mexican documentary-maker Alberto Cortes, is an unusual marriage drama, set during the Zapatista uprising. “Dioses,” from Peru’s Josue Mendez (“Days of Santiago”), portrays upper-class Peruvian mores and restraints.

Section, a panorama of the best recent art pics from Latin America, also pays tribute to San Sebastian’s own Films in Progress showcase at generating fest standouts.

“Acne” and “Manero” both screened uncompleted in Progress, as did Julio Hernandez Cordon’s intimist Guatamalan teen drama “Gasolina,” multi-prized at Films in Progress last year.

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