On May 23, Cannes’ Producers Network will train its spotlight on six Chilean producers, a mix of seasoned pros and novices from the country’s enviable film industry.
A producer since 1997, Freund’s credits include blockbuster “Stefan v/s Kramer,” which he co-directed, and Matias Lira’s priest scandal drama “El Bosque de Karadima.” “I’m open to both auteur and mainstream stories, as long as they move me and have something to impart,” he says. He joined Demente as CEO-partner in 2015 and he’s developing, among others, Pablo Illanes’ “The Grave” and thriller “The Crying Boy,” which he directs. He’s also taking biopic “Gabriela” to Cannes. It centers on Chile’s 1945 Nobel laureate in literature Gabriela Mistral, played by Paulina Garcia. Argentina’s Arte Mecanica co-produces and talks are underway with Brazil’s Bananeira Filmes and France’s Dibona Films.
From his 1984 directorial debut “Children of the Cold War” to his upcoming “The Young Shepherd,” Justiniano has sought to explore socio-political themes. A Paris U. and Lumiere Film School alum, the director-scribe-producer says, “I seek narratives of ordinary people in extraordinary events.” His credits include the multi-award-winning 2003 “B-Happy” and the 2012 “Alguien ha visto a Lupita?” Sahara Films is producing Patricio Salinas’ “Peru” and Justiniano’s next directorial effort, “God Photographer.” His “The Young Shepherd,” in post, tells the story of an American missionary who gets caught up in the resistance against the Pinochet regime.
As a partner at Forastero, Larrea, 34, taps her studies in cinematography to work closely with DPs and crew. Previously an executive producer/coordinator at Kine Imagenes, her upcoming projects include Rodrigo Susarte’s “The Monster Within” and Pablo Stoll’s zombie thriller “The Summer Hit” “I like to work with directors with singular visions, and to produce ‘elevated’ genre films,” she says. “The Monster Within” concerns a widower and his daughter who find themselves ensnared in bizarre crimes linked to ancient witchcraft in southern Chile.
A Paris-educated expert in intellectual property law, Nasi was only 23 when he produced TV branded content at WPP Media, Vietnam. He was an associate lawyer at Alessandri & Co. before joining Quijote- Rampante Films. Now 31, his credits include “Raiz” by Matias Rojas and “Jesus” by Fernando Guzzoni. “I’m drawn to dramas by directors with a strong auteur vision; by films with a socio-political bent,” he says. At Cannes, Nasi presents Guzzoni’s “Blanquita,” a co-production with Argentina’s Autocroma, based on a true story about a single mom who uncovers the sexual abuse of foster children.
Before joining Micromundo Prods. and its founder Maite Alberdi in 2015, Santibanez, 32, lived in the U.S. where she was a Fulbright scholar, acquiring her MFA at UCLA’s film school. She interned at Participant Media and Tugg Inc., producing three shorts, including “Age of the Moon,” part of the upcoming James Franco omnibus, “Palo Alto: Killing Animals.” She spearheaded the Goya Awards campaign for Alberdi’s docu “Tea Time,” and is producing Alberdi’s elder-abuse docu, “The Mole Agent.” Santibanez is also producing river docu “Flow” by husband Nicolas Molina.
A French-born Chilean resident, Schroeder, 30, studied private law at the Sorbonne in Paris, but opted to work at Paris-based Gloria Film and Rouge Intl. She served as a production assistant in various projects before Rouge sent her to Chile to oversee Cristian Jimenez’s “Voz en off.” She founded Pequen Prods. with Karin Cuyul in 2016 with a mandate to create movies and documentaries with strong auteur voices and international appeal. At Cannes, she presents documentaries “Idaho” and “Story of My Name,” as well as Mauricio Lopez’s magical realist thriller “The Pack,” in which a mysterious pack of wild dogs attack an Andean village.