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Guadalajara: ’Instructions Not Included’s’ Monica Lozano Backs ‘Violent Butterflies’ (EXCLUSIVE)

Directed by Adolfo Davila, and a portrait of disaffected Mexican youth, the film project will be unveiled at the 13th Guadalajara Co-Production Meeting

MEXICO CITY — Monica Lozano, whose producer credits take in Alejandro Gonzalez Inarritu’s “Amores Perros” and Eugenio Derbez’s “Instructions Not Included,” is set to produce “Violent Butterflies.”

With “Violent Butterflies” set up at Lozano’s Mexico City-based Alebrije Producciones, Lozano will produce with longtime partner Eamon O’Farrill. Mexico’s Neural Films co-produces.

Lozano will introduce “Violent Butterflies” to potential production parents at the Guadalajara Festival’s 13th Co-Production Meeting, which kicks off Sunday.

Directed by Adolfo Davila, a Mexican filmmaker with a long experience in documentary, shorts, music-vids and commercials, “Violent Butterflies” mixes social issue, romance and a revenge thriller in one of the fastest building movie cannons in the Spanish-speaking world, the portrait of highly-educated but disenfranchised youth which rages against a corrupt establishment until a flashpoint ignites rebellion.

“My intention is to create a disruptive and thought-provoking movie that invites to reflect on the actual condition of the youth in Mexico,” Davila reflected.

Also written by Davila, “Violent Butterflies” charts a all-embracing love story between a philosophy student and a singer in a punk band who is also studying law. Both highly politicized, they take part in a swelling ports movement in Mexico City. When he is beaten senseless and she is abducted by police officer who get off scot free, the cops’ impunity and their vulnerability make them decide that revenge is the only way out.

To ground the film in authenticity, Davila lived with young students, punks and anarchists. “Their common denominator was their social discontent,” he recalled.

“‘Violent Butterflies’ is a movie that deals with contemporary issues, related to building social indignation against injustice, impunity, corruption and evil,” Davila added, saying that his intention is to use “a film language and aesthetics which are bold and modern” and a “cinematography, pace and score which, like the subject of the film, are not very common in Mexican filmmaking.”

That said, he does not want to pigeon-hole Mexico’s young as violent and aggressive. They can equally be “tender, talented, capable of loving and changing the world,” Davila countered.

Living proof that women can create mainstream movies of huge market appeal, but not be pigeon-holed in that role, Lozano also produced one-night stand pregnancy dramedy “Don’t Blame the Kid,” the biggest-grossing Mexican movie last year, which meaning that she has overseen two of the three highest-grossing Mexican movie in history: “Instructions Not Included” and “Don’t Blame the Kid.”

Lozano also produced “I Dream in Another Language,” a chronicle of ostracism in the backwoods of Mexico, where a young linguist attempts to tape a conversation between the last two speakers of an indigenous language spurned by the young. Directed by Ernesto Contreras, the drama won a Sundance Audience Award in January and is one of the front-runners for some kind of prize in Guadalajara’s main Ibero-American Fiction Feature Competition.

The 32nd Guadalajara Intl. Film Festival runs March 10-17 in Mexico.

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