Co-organized by Argentina’s Incaa film institute and the Cannes Film Market, Ventana Sur already hosts screenings and a trade fare for all types of movies from Latin America. These ran a gamut last year from micro-budget arthouse to a sneak-peak works-in-progress presentation of Juan Jose Campanella’s upcoming $20 million “Foosball.”
Blood Window will allow buyers to screen in Ventana Sur’s video library the now scores of horror movies being produced in Latin America, Incaa international relations head Bernardo Bergeret said at Cannes.
A clutch will feature as part of Ventana Sur’s regular screenings.
In collaboration with Gabriel Schipani, head of fright fest Buenos Aires Rojo Sangre, Ventana Sur has identified 49 Argentine titles produced from 2011 that will be made available to buyers. These run from Nicolas Goldbart’s contagion drama “Phase 7,” an international sales success for Berlin’s M-Appeal, and Israel Adrian Caetano’s “Mala,” to Tamae Garataguy’s “She Wolf,” and Santiago Palavecino’s exploration of the female psyche “Some Girls,” excerpts of which were screened yesterday at the Cannes Festival’s first Work in Progress session, BAL Goes to Cannes.
Ventana Sur will collaborate with other prominent genre fests in Latin America to source Latin American pics from throughout the region, Bergeret added.
Top fantastic festival heads – SXSW’s Jim Kolmar, Sitges’ Angel Sala — will attend Blood Window.
Blood Window is announced as two young Latin American genre talents — Argentinean Andy Muschietti with “Mama,” Fede Alvarez, from Uruguay, with “Evil Dead” — have already topped U.S. charts this year. More Argentine fright fare is seeing a commercial release, said Schipani.
Also, young production houses in Latin America — Argentina’s Colombia’s Rhayuela, Magma Cine, Colombia’s Dynamo and Mexico’s Canana, both Participant PanAmerica partners — are plowing ever more into auteur genre production.