Uruguay’s ‘Summer,’ ‘Latent,’ ‘Theory’ invited to Ventana Sur

Uruguay's 'Summer,' 'Latent,' 'Theory' invited Ventana

EAVE-Puentes 2013's Uruguayan projects mix award-winning auteurs with promising new talents

Pablo Stoll’s “Summer Hit,” Esteban Schroeder’s “Latent” and Diego Fernandez’s “The Broken Glass Theory” feature among 10 film projects highlighted by a EAVE-Puentes Uruguay 2013 workshop whose producers have been invited to attend Ventana Sur.

Projects list combines titles from established, award-winning auteurs with promising new talents, are often genre films and comedies, and regularly structured as international co-productions.

At Ventana Sur, Puentes’ Uuruguayan producers delegation is looking for potential partners and decision makers for their early-in-development projects.

Pablo Stoll’s horror comedy “Summer Hit,” produced by Laura Gutman and Federico Toquero at Montevideo-based Temperamento Films, represents one of Puentes’ potential standouts: Stoll’s first two movies, co-helmed with Juan Pablo Rebella, “25 Watts” and 2004 Cannes Un Certain Regard Fipresci winner “Whisky,” are considered cult arthouse items worldwide.

Co-produced with Chile’s Kine and Brazil’s TC Filmes, “Summer” underscores a growing ambition of Uruguayan films: Luring co-production funds from other Latin-American territories.

Sparking attention at Ventana Sur, black comedy “The Broken Glass Theory,” helmer-producer Diego Fernandez’s sophomore feature, which is set up at Montevideo advertising prodco Transparente Films, turns on an insurance company employee dispatched to work in a small faraway town.

Fernandez’s feature debut, road-movie “Darwin’s Corner,” won screenplay and art direction awards at September’s Cine Ceara festival in Brazil.

Esteban Schroeder, producer of Walter Tournier’s pioneering stop-motion pic “Selkirk, the Real Robinson Crusoe,” a Disney pickup for Latin American, returns to a director’s chair with drama “Latent,” a reflection about ethical conflict based on 1865 photographs taken during the war of Triple Alliance against Paraguay, It is produced by Cristina Elizarzu at La Suma.

Schroeder’s directorial credits include thrillers “The Vineyard” and 2008’s La Havana film fest-award winning “Kill Them All.”

Mother Superior Films’ producer Ignacio Garcia Cucucovich pitches horror thriller “Small Town,” by partner Gustavo Hernandez, one of Latin America’s most successful genre directors, whose 2009 Elle Driver-sold international sales hit “La casa muda” was the subject of an English-language remake, “Silent House,” from “Open Water” helmers Chris Kentis and Lara Lau.

“Bionimia,” by first time distaff directors Carolina Curti and Hella Spinelli, a comedy-drama produced by Ines Mendez and Hernan Olivera, also represents the feature film debut of Montevideo-based outfit Eramos Tan Pobres.

Further projects by debutant helmers include Carlos Ceaceros’ psychological thriller “Devil’s Point,” produced by Asclepeia Films; Matias Ganz’s comedy-drama “The Right Ones,” produced by Juan Jose Lopez at Negro Jefe Cine; Fiona Pittaluga’s comedy “Goodbye New Year” at Martin Cuinat’s Roberto Me Dejo Films, U Films’ road-movie “Angela´s Journey,” by Carlos Morelli, and “Rage,” a Javier Olivera-helmed drama produced by Tromba.

The second edition of development and networking initiative Puentes Uruguay, which has just taken place in Montevideo over Nov. 29 – Dec. 4, was organized by  European Audiovisual Entrepreneurs (EAVE) and Uruguay-based outfit Mutante Cine. It culminates at Ventana Sur.

“We’re bring a 20 producer delegation that participated or will participate in Puentes, a pretty laerge figure for a three-million inhabitant country,” said Mutante Cine’s Agustina Chiarino.

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