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‘Hogar,’ ‘Tiburones,’ ‘Death Will Come and Will Have Your Eyes’ at Montevideo’s Puentes

EAVE International's 2nd 2017 workshop takes place Nov. 23-27 in Montevideo

Maura Delpero’s “Hogar,” Lucía Garibaldi’s “Tiburones” and José Luis Torres Leiva’s “Death Will Come and Will Have Your Eyes” will be honed at the second 2017 Puentes meet, the most prominent of Europe-Latin American co-production workshops.

Co-organized by Uruguay’s Mutante Cine production outfit, the event unspools in Montevideo over Nov. 23-27, prior to the 9th Ventana Sur, Latin America’s biggest movie market. Thanks to a special collaboration agreement, Puentes participant-producers can attend Ventana Sur (Nov. 27 – Dec. 1), in Buenos Aires. This is the fifth year that Montevideo hosts the Puentes event.

Founded in 2009 by EAVE (European Audiovisual Entrepreneurs), Puentes is a training workshop for Europe and LatAm producers, which took place for the first time in Uruguay in 2012.

An Arte Award winner at San Sebastian’s 5th Europe-Latin America Co-Production Forum last year, Maura Delpero’s “Hogar” is produced by Italian Alessandro Amato’s Dispàrte in co-production with Argentinean Campo Cine. The first fiction feature of Delpero, after documentary “Nadea e Sveta.” ”Hogar” is set at a Buenos Aires home for teen mothers, and explores various forms of female desire.

Based out of Guillermo Madeiro and Federico Borgia Montelona Cine in Montevideo, “Tiburones,” another Puentes project, turns on a naughty teen, Rosina, at a seaside resort plagued by rumors that its waters have sharks, first-time director Lucía Garibaldi explained to Variety.

Catalina Vergara, at Chile’s Globo Rojo Producciones, produces “Death Will Come And Will Have Your Eyes,” directed by Torres Leiva, a 2008 Rotterdam Festival Fipresci prize winner for “The Sky, the Earth and the Rain”). It turns on a couple, Ana and María, confronting Ana’s terminal cancer in a small cottage in the middle of a forest.

“When selecting proposals, the main focus is the profile, the previous works and the letter of motivation [of producers]. The number of applications has grown, which makes the selecting process much more challenging, as the level of participants is higher every year as well,” said Mutante Cine’s Agustina Chiarino.

Other projects included at Montevideos’s Puentes are Davi Pretto‘s “South,” Vinko Tomičić’s  “Perros” and Antoine Barraud’s  “Monument Valley.” Described as a “suspense Western about the lives of a foreman and two slaves framed in three tales of violence and betrayal during a 19th century civil war in Brazil”, “South” represents Pretto’s third feature after “Castanha” and “Rifle.”

To be developed at the Daad Berlin Artists-in-Residence in 2018, it is produced by Paola Wink at Porto Alegre-based Tokyo Filmes. Supported by Ibermedia development aid, Tomičić ‘s second feature “Perros” tells the story of 14-year-old shoeshine boy Martín who discovers that his best client is his father, a solitary tailor who has rejected him all his life. said producer Álvaro Manzano, at Bolivia’s Color Monster.

Completing Montevideo’s Eave eight-project slate are: “Monument Valley,” directed by Antoine Barraud, main competition contender at Locarno in 2012 with “Les gouffres,” and writer and co-producer of João Pedro Rodrigues’ “The Ornithologist.” In “Valley” (produced by Delphine Schmit at Perspective Films), two lovers experience accidental rendez-vous in different countries in what is billed as a baroque but lyrical adventure.

Based out of Germany’s One Two Films (which backed Isabel Coixet’s “The Bookshop”) Jamila Wenske produces ”Hello My Friend,” directed by Bettina Blümner, a 2007 Berlin Dialogue in Perspective documentary winner with “Pool of Princess.” A coming-of-age tale, “Friend” questions tourism and foreigners’ take on Latin America. It will be filmed with cell phones.

Director of Costa Rica’s foreign-language Oscar entry “The Sound of Things,” Ariel Escalante’s sophomore feature “Zanfona” centers on “Maria Luisa, a woman whose life has been dominated by her fascist father. Moving to her family’s estate to be with him on his deathbed, she dreams about a pack of wild dogs that she believes are after his soul. Mariana Murillo, at Costa Rica’s Sputnik Films, will represent ”Zanfona” at Montevideo.

And finally, Inés Nofuentes at Spain’s Curuxa Cinema brings “The Middleman,” following a coffee farm manager at Guatemala’s highlands facing difficulties for his retirement. It’s the feature debut oz Izabel Acevedo (Clermont-Ferrand Grand Prix winner “To Put Together A Helicopter).

One international trend, suggested by Puentes applications, is a “move into genre without abandoning an auteurist approach,” said Mutante Cine’s Fernando Epstein. “More participants, especially from smaller countries, are concerned about local film laws, film institutes and willing to get involved in policy,” he added.

Invited producers without project at Montevideo’s EAVE are Eva Chillón, at France’s Pomme Hurlante Films, acquisitions consultant Naomi Denamour, Susana Santos Rodríguez, based out of Argentina’s Vaivem, and Benjamín Stienon at Belgium’s Populi). Workshops  tutors take in Jean Des Forêts (Petit Film), Epstein and Chiarino, script editor Jacques Akchoti, Aranka Matits, acquisitions head at the U.K.’s Pretty Pictures, Linda Beath from Ideal Filmworks Italia, Setembro Cine’s Fernanda del Nido and Wild Bunch’s Emily Serres.

The Montevideo event also hosts Puentes Uruguay, founded by Chiarino and Epstein’s Mutante Cine with support from the Uruguayan Film and Audiovisual Institute (ICAU). It will showcase pitching sessions for seven Uruguay’s projects and three work-in-progress features.

WIP titles include producers-directors Rafael and Bernardo Antonaccio’s “In the Quarry” (Saico Films), Santiago Ventura’s “Grey in the Eyes” (Gabriela Boullosa’s Dodeca) and Manuel Facal’s “Not Going to Fiesta Nibiru,” from Ignacio Cucovich’s Mother Superior.

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