Corrections were made to this article on April 9
MEXICO CITY — “El custodio,” from Argentine helmer Rodrigo Moreno, and Marcelo Gomes’ Brazilian pic “Cinema, Aspirins and Vultures” tied for Iberoamerican picture honors at the Guadalajara Film Festival, which wrapped Friday.
“Custodio,” the minimalist tale of a government minister’s bodyguard, also picked up the script nod and the Fipresci critics’ prize for a first work . “Cinema” star Joao Miguel snagged the actor laurels.
Iberoamerican director nod went to Spanish helmer Isabel Coixet for “The Secret Life of Words,” while Bolivian Martin Boulocq drew the nod for a first work for “The Most Beautiful of My Very Best Years.”
Nine Mexican pics preemed at the fest, which formerly showcased Mexican productions but is now in its second year as an Iberoamerican platform.
In the Mexican competish, “La niña en la piedra” (Girl on the Stone) took the picture plaudit. Tale a adolescent love, humiliation and violent revenge set in rural Mexico was directed by Maryse Sistach.
Javier Patron drew the Mexican director nod for “Fuera del cielo” (Chilango Blues), the story of an ex-con reunited with the younger brother who may have put him in jail. Co-production of Ipegmenio Ibarra’s Argos Cine, Televisa’s Videocine and Mexican exhib Cinemex was known as “El marlboro y el cucu” in development.
Mexican film-school CCC production “Más que a nada en el mundo” (More Than Anything in the World), by Andres Leon Becker and Javier Solar, took the Mexican first work nod. Superstition-fueled tale concerns a little girl’s attempt to cure her mother’s depression.
Juan Carlos Rulfo’s Sundance and Miami-laurelled “In the Pit” unanimously won the Iberoamerican docu category. Patricia Arriaga’s “La ultima mirada” (The Last Look), about a painter losing his sight who meets a beautiful young maid in an isolated desert town, took the public’s prize.
Fest, in its 21st year, is beginning a new life under new director Jorge Sanchez, a well-connected Mexican producer.
Mexican competish included every available local pic completed and not being held for Cannes and other Euro summer fests.
Roster was markedly weak and largely overshadowed by the stronger Iberoamerican section, with such notables as Julian Hernandez’s “El cielo dividido” (Broken Sky) deemed excessively long (Strand distribs Stateside) and Javier Patron’s “Fuera de cielo” (Chilango Blues) an engaging, elegantly crafted Mexico City film noir. Generally, fest quality was impressive given that newly appointed organizers had only a few months to assemble an increasingly international lineup.
Market, in its fourth year, grew significantly, with 234 buyers from 130 companies. Market director Alejandra Paulin said nearly 100 films out of 458 titles entered into negotiations.
Festival screened 177 features, two-thirds more than last year but drew in only 60,000 spectators, down 15,000 from last year.
“El custodio” and “Cinema, aspirinas e urubus”
Isabel Coixet for “La vida secreta de las palabras”
Opera Prima First work
“Lo m¡s bonito y mis mejores aáos” by Martin Boulocq
Joao Miguel for “Cinema, aspirinas e urubus”
Fernanda Montenegro and Fernanda Torres for “Casa de areia”
Willi Bechnisch for “4 mujeres descalzas”
“La niáa en la piedra”
Javier Patron for “Fuera del cielo”
First work Opera Prima
“Mss que a nada en el mundo” by Andres Leon Becker and Javier Solar
“En el hoyo” by Juan Carlos Rulfo
“Sarean” by Asier Altuna
“La leche y el agua” by Celso Garcia
“La ultima mirada” by Patricia Arriaga
FIPRESCI PRIZE FOR FIRST WORK