‘Slaughterhouse,’ ‘About the Clouds,’ ‘Candela,’ ‘Deeper’ Ready For 1st Málaga Festival Fund & Co-production Meet

Málaga work-in-progress section was also announced at Berlinale's Iberoamerican event

Berlinalle --2018-- First Málaga Coproduction Meet
Málaga Festival Fund

BERLIN — “Slaughterhouse,” “About the Clouds,” “Candela” and “Deeper” are four of the twenty projects chosen to participate at the upcoming 1st Málaga Festival Fund & Co-production (MAFF) event as announced at the Berlin Film Festival at an Ibero-American event which also included a round table.

The event, traditionally held at Berlinale, was backed by the Instituto Cervantes, the Ibero-Amerikanisches Institut Berlin, the Conference of Ibero-American Cinematographic Authorities (CACI) and the Ibermedia Program.

The MAFF and works-in-progress sections are two of the new industry events to be hosted by the Festival Industry Zone (MAFIZ) at the Málaga Film Festival, a leading showcase for Spanish cinema. MAFIZ run April 13-22.

The 21st Málaga Film Festival runs April 13-22. With an aim of strengthening bridges within the Ibero-America, in addition to these inaugural industry activities, Brazil will be Malaga’s guest country at both the festival and industry forum.

An Argentine production from Magaya Films, dramatic thriller “Slaughterhouse” is the feature debut of Santiago Fillol, an assistant director and co-writer on Olivier Laxe’s Critics’ Week Grand Prize “Mimosas.” It turns on a U.S. cinema director who reaches La Pampa to shoot the first revolt of  laborers against the landowners. The project was also selected at the Mar del Plata Film Festival Lobolab, and will be pitched at the Guadalajara Film Festival Co-production Meet in March.

Produced by Argentina’s Trivial Media, “About the Clouds” is the second directorial outing for María Aparicio, a 2016 best director winner at Bafici for “Streets.” A hybrid documentary, “Clouds” traces the parallel stories of different characters in the city of Córdoba, Argentina.

Directed by one of this year’s Berlinale Talents, Andrés Farías, “Candela” is from Kalidoscopic in the Dominican Republic. An assistant director on Nelson Carlo de Los Santos Arias’ “Cocote”, Farías portrays contemporary Santo Domingo with a singular documentary visual approach.

Virginia Urreiztieta’s “Deeper” follows a 16-year girl living with her mother, a probable schizophrenic, who suffers from alleged demons, in the eyes of the people of a remote land in Venezuela’s plains. It is produced by Venezuela’s La Pandilla. Urreiztieta won a Special Jury mention at France’s Clermont-Ferrand Short Film Festival for “Panorama.”

First timer Giselle Elias Karam will present “Lebanese Blood” a criss-crossing cultural study of the Lebanese community in Mexico.  Mexico’s Tonala Lab (Camila José Donoso’s “Casa Roshell”) produces.

Other projects looking for partners at Málaga Festival Fund & Co-production include Carlos Melian Moreno’s “The Silent Star” (Cuba’s La Cronocasa), Glorimar Marrero Sánchez’s “Fish Tank” (Puerto Rico’s Canica) and Verónica Riedel’s “Hen Cock” (Guatemala’s Anver Films).

Submissions for the Málaga MAFF came to a total of 130. There were 140 applications for the works-in-progress.

Some of the selected Latin American projects for the Málaga Work in Progress section –running April 17-20 – are Eduardo Wannmacher’s “After Being Ashes” (from Brazil’s Pironauta), Enrique Pérez Him’s “Days of Light,” (Panama’s Mente Pública), Carlos Ameglio’s “Porn for Newbies,” (Uruguay’s Salado) and Fernando Frías’ “I’m no Longer Here” (Mexico’s Panorama).

Under the title, Ibero-American Cinema: Its International Distribution Beyond the Film Festival Circuit” the round table included producer Fernando Epstein at Uruguay’s Mutante Cine; Antonio Saura, CEO of sales agency Latido Films; and Hans-Christian Boese, CEO at German distribution company Piffl Medien. Other panelists were Olimpia Pont Cháfer, head of sales at The Coproduction Office who also represented the CICAE International Confederation of Art Cinemas; and Sandro Fiorin, head of the FiGa Films sales company. The debate was moderated by producer Hernán Musaluppi, at Argentina’s Rizoma Films.

The round table discussed issues such as the insufficient distribution of Ibero-American movies around the region, the paradox that Latin American producers has to go through European sales agency to launch their movies worldwide; and the saturation of simultaneous releases, which doesn’t allow word-of-mouth to kick in, though it is very much needed when it comes to auteur films.

Other issues addressed was the impact of festival success and the need for national movie exhibition quotas.

The consolidation of digital platforms has meant the possibility of rapid sales. But movies can be lost  lost in their huge catalogues. A theatrical release usually cares more for a movie.

In addition to the Ibero-American projects at the co-production market, the section will incorporate two projects selected by the Arab Cinema Center: Suha Arraf’s “Chintian” (produced between Palestine, Malta, Sweden and Denmark) and Hanaa Alfassi’s “In Between,” (a Saudi Arabia-U.S. work).


“Farewell to Caviar,” Nicolás Macario Alonso, Nicolás Kohen, (Virginia Bogliolo, Uruguay-Colombia)

“Some Beasts,” Jorge Riquelme Serrano (Laberinto Films, Chile-Argentina)

“Candela,” Andrés Farías (Kalidoscopic, Dominican Republic-Mexico)

“Courage,” Rubén Rojo Aura (Apapacho Films, Mexico-Spain)

“Red Flowers,”  Héctor Salgado (Molotovcine, Chile)

“Hen Cock,” Verónica Riedel (Anver Films, Guatemala-Costa Rica)

“Deeper,” Virginia Urreiztieta (La Pandilla Producciones, Venezuela)

“Kasa Branca,” Luciano Vidigal (Tacacá Filmes, Brazil)

“The Silent Star,” Carlos Melian Moreno (La Cronocasa, Cuba)

“Fish Tank,” Glorimar Marrero Sánchez (Canica, Puerto Rico)

“The Ones Below,” Alejandro Quiroga (Empatia Cinema, Bolivia)

“Slaughterhouse,” Santiago Fillol (Magoya Films, Argentina-Spain-France)

“My Dear Valentin,” Jazmín López (Constanza Sanz Palacios Films, Argentina)

“Lebanese Blood,” Giselle Elias Karam (Tonalá Lab, Mexico)

“About the Clouds,” María Aparicio (Trivial Media, Argentina)

“Teo,” Víctor Manuel Checa Belaúnde (Pierrot Films, Perú)

“Three Brothers,” Francisco Paparella (Paula Orlando, Argentina-Brazil-Chile)

“Journey to the West,” Rafael Ramírez (Torre De Marfilms, Colombia-Cuba)

“Inside I´m Dancing,” Andrew Sala, Leandro Koch (Nevada Cine, Nabis Film Group, Argentina)

“Mirrors of Nature,” Maximiliano Schonfeld, Gabriel Zaragoza (Schonfeld, Argentina)


“Before the Ferry Comes,” Juan Caunedo, Vladimir García and Raúl Escobar (Champola, Cuba-Spain-Mexico)

“Sea Horse,” Ignacio Busquier (Yira Cine, Argentina)

“After Being Ashes,” Eduardo Wannmacher (Pironauta, Brazil)

“Days of Light,” Enrique Pérez Him (Mente Pública, Panama-El Salvador-Nicaragua-Honduras- Costa Rica)

“The Night of The Beast,” Mauricio Leiva Cock (Fidelio Films, Colombia)

“The Ruins,” Jerónimo Atehortúa Arteaga (Montanero Cine, Colombia-Bosnia-Herzegovina)

“Gunpowder Heart,” Camila Urrutia (Curuxa Cinema,  Guatemala-Spain)

“Porn for Newbies,” Carlos Ameglio (Salado, Uruguay-Argentina-Brazil)

“Sumerged,” Andrés Finat (Barricada, Chile)

“I’m no Longer Here,” Fernando Frías (Panorama, Mexico)