MAR DEL PLATA– Peruvian actress Vanessa Saba and Frank Perez Garland’s Elefantemiope and Gustavo Sanchez at La Soga Producciones are joining forces to produce “The Kidnapping,” a thriller written by Saba and Perez Garland, an Emmy International award nominee for TV skein “My Problem With Women,” who will direct.
Sanchez produced Franciso Lombardi’s “What the Eye Don’t See,” and co-produced Eli Roth’s “Green Inferno.”
Rio Rojo producer Ignacio Rey, a rising force in pan-Latin American co-production at Sudestada Cine, such as on Pablo Larrain’s upcoming “Neruda,” is teaming with Sanchez and producer-director Perez Garland and Saba to produce “Kidnapping.”
Saba also penned the script, about ineffective justice and vengeance.
Perez Garland is just about to shoot musical comedy “Locos de amor”, produced by Tondero Producciones, the company behind Peru’s biggest hits ever “Asu Mare!” and “Asu Mare! 2”.
Mirroring some other mid-sized Latin American territoriesd – Colombia, Venezuela and Chile – Peruvian cinema ison the ruse, in Peru’s case in domestic box office reach: Peru registered a 2014 B.O. of $140 million (vs. $76 million in 2006) and a 9.7% national film market share; once packed out with somber, dramas national production is giving gradually way to genre fare.
Preeming at Argentina’s Mar del Plata Fest, which unspools this week at the Argentine resort, and starring Saba “Them” is a family drama which has been welcomed in Peru as a representative of a new Peruvian cinema, focusing on intimate personal conflicts rather than ubiquitous social concerns. Vanessa Saba and Gianni Ciccia star.
An actress – in Javier Fuentes-Leon’ “The Vanished Elephant” and Augusto Tamayo San Roman’s “Crossing a Shadow,” for example – Saba is now showing new writing and producing skills.
You’re exec-producing “Them.” Why?
I am not really sure… Frank and I looked for the money together for “Them.” I guess it responds to an impetus to get things accomplished and not to keep on waiting. Acting work is wonderful, but the boring thing is that you always depend on other people. It’s a bit frustrating because they don’t always call you.
How do you value current Peru production panorama?
After years of making social cinema, about terrorism, for example, I think it’s happening- like in Chile, a national cinema I admire a lot – that other kind of stories, smaller, human, day-to-day tale like “Them” are being produced. Production is also gaining strength. When “Them” opened in Peru, another five local productions were playing theaters — Salvador del Solar’s “Magallanes,” Hector Galvez’s “NN,” Francisco Lombarddi’s “Dos Besos,” Ernesto Cabellos’ “Daughter of the Lake” and Tom Sanchez’s “The Blade of Don Juan.” This hasn’t happened ever in Peru. Also there’s interesting comedy production – Tondero Producciones establishing B.O. records with 2.5 million – 3 million admissions – and horror genre is being producing and is working, registering 500,000 to 800,000 admissions.
What are the habitual production models in Peru?
You have the state subsidies. But, just a few films – six, or seven for production- are granted funds. Around 40 remain in line. In addition, there’re two subsidy support lines for post-production and another two for distribution. If you do movies like Tondero’s comedies, you work with private sector finance. “Magallanes” and “Elephant,” for example, applied a mixed formula. Product placement is also an aid, but not every movie is appropriate to tap into it.
What about international co-productions?
A few days ago, Gustavo Sanchez, “Them” manager producer and also the president of APCP [Peru’s independents producers assn.] remarked to methat we urgently need a international co-production framework rdegulation. Sanchez and Perez Galder are battling for this because for years now the Culture Ministry hasn’t done anything about it.
Could you advance the story’s main elements?
“Kidnapping” is the title. I wrote the script and my husband [Perez Galder] will direct it. The idea was born in a conversation with a friend’s and is about the death penalty. Years later, I talked about the conversation with Frank, especially about taking the law into our own hands. It’s the story of a young orphan law student. As family he just has his grandfather and has a close relationship with one of his teachers. He will discover a series of aspects about his life, about sons being made responsible for their father’s crimes and… well, I stop here.