Edher Campos jumped into the international arena from the get-go with with Michael Rowe’s “Leap Year,” sold to Pyramide Intl at Ventana Sur in 2009 and a Cannes’ Camera d’Or.
He then stepped up in scale with Diego Quemada-Diez’s feature debut “La jaula de oro,” an immigration drama that swept the 2014 Ariel Awards snagging nine kudos, the talent prize at Cannes’ Un Certain Regard and a Gold Hugo at the Chicago Fest.
“La habitacion,” Campos’ latest production, competes at the 4gth Los Cabos pix-in-post Work in Progress sidebar.
The young Mexican has a large degree of both artistic and socially ambition, and, to boot, his works have gained a noteworthy international acclaim.
“’Habitacion’ tells the stories of all the people that inhabited it in key moments of Mexico’s history. It’s important to see past times in order to to understand the transformation of the place where you have lived,” Campos pointed out.
“Habitacion” is penned by Maria Diego Hernandez.
Campos structured “Habitacion” as eight different stories directed by different helmers. Each part is set in a different time period, but in the same environment –a room. Chapters, time periods and directors are: “El Sueno (1910, Carlos Carrera), “La Pesadilla” (1913, Daniel Gimenez Cacho), “La Duermevela (1928, Carlos Bolado), “El Erotismo (1945, Ernesto Contreras), “La Soledad” (1968, Alfonso Pineda-Ulloa), “La Vigilia (1985, Alejandro Valle), La Muerte (1994, Ivan Avila Duenas), and “La Evocacion” (2016, Natalia Beristain).
“The biggest challenge is to find a story you believe in and are obsessed about. Beyond financing difficulties, the most important thing is to be absolutely confident in the movie you want to make. For many people, ‘Year’ seemed too risky –due to theme– and ‘Jaula’ because of its formal features; Both projects meant for Machete the chance to express something worthy of being told,” Campos insisted.
Campos is also currently lensing “X Quinientos,” the sophomore feature of Juan Andres Arango, who helmed Colombia’s foreign-language Oscar submission, Cannes 2012 Un Certain Regard player “La Playa DC.” A pan-American omnibus, it’s structured as a co-production between Canada (Yanick Letourneau’s Péripheria Productions), Colombia (Jorge Andres Botero’s Septima Films) and México (Machete) and turns on main topics of marginalization, questioning of identity, and the feeling of belonging to a globalized American continent.
“’Quinientos’ follows three teens living in different places on the continent. Alex, Maria and David face the loss of a close person and their stories come together by seeing them initiate a radical change so as to overcome their mourning,” Campos explained.
“Quinientos’” Colombia shoot finished this year, Mexico’s is scheduled to begin late November. Post-production will be carried out in Canada.
“I want to make movies outside Mexico. I am really excited with a new project –‘Brooklyn Treehouse.’ The action happens in a New York loft, where an eccentric French artist gathers five wannabes from different countries in order to set up a new artistic movement. It’s a drama with ironic overtones about what an artist is nowadays,” Campos unveiled to Variety.