Ventana Sur 2022: Possible highlights

BUENOS AIRES – ONLINE IN 2020, AND WITH ON SITE SPORTS EDITION IN 2021, Ventana Sur is back, attendance levels, especially from delegates outside Argentina, looking to break all time

“With all the sales companies, distributors and platforms back, it’s really great to find the same dynamic as in 2019,” said Jerome Billard, Co-Director of Ventana Sur. Dec 2.

In some ways, in fact, there may be more. 7 This year’s event is being held, supported by the Cannes Festival, Marquette and the Argentine Motion Picture Television Agency INCAA:

Ventana Sur XXL

Three stats nail this year’s Ventana Sur. Organizers said the number of delegates from outside Argentina had nearly doubled by Sunday. Led by Primer Corte & Copia Final, Proyecta and Animation! Blood Window, Punto Genero, Maquinitas, Spanish shows, projects, pix-in-post, rose to a total of just 120 in the main sidebar. The castings for the casts are even more impressive: 381 for just five slots in Netflix’s SoloSerieS show sessions, and 203 for the animation! The vast majority of projects are features or first series. In other words, in its 13th edition, Ventana Sur has become a new springboard for talent, highlighting titles placed through massive elimination systems.

Netflix has its back behind Ventana Sur

Netflix is ​​giving a boost in Ventana Sur. The presentation session will highlight five series: two thriller dramas – the Dominican Republic’s “Wonderland”, the Chilean manga – as well as the thriller, Colombia’s Underdogs, the Chilean drama “Gladys” and the Argentine drama “Convince Me”. Two shows, the second led by Francisco Ramos, Netflix Vice President of Content, will reach an expected wider range of Argentine producers, explaining Netflix’s great interest in Argentina and “addressing inaccurate perceptions”. little marvel. Launched in 2011, Netflix has robbed competitors, holding an estimated 72% of the SVOD market share in 2021, according to Digital TV Research. Brazil alone is the second largest market for Netflix after the United States with an end-2022 forecast of 16.4 million subscribers, according to Ampere Analysis. Netflix has a large market for protection and growth.

Cannes Film Festival Week: Thierry Frémaux Screens “What is Cinema”

On November 28 – Dec. On the 4th, week of the 2022 Cannes Film Festival in Ventana Sur sold out all sessions in just one day. This is not surprising. Among the highlights is a lecture by the French actor Vincent Lindon, president of the jury of the Cannes Festival this year, in a conversation with Santiago Maitre, who considers “Argentina 1985” a strong contender for the Oscar. The program receives several winners this year, including a double screening of “The Triangle of Sorrow.” With Fremaux presenting each film in his own unique sense of humor, the week also captures the essence of cinema as a live event and vibrant shared social experience. “We never wanted to create a market without showing films and filmmakers in cinemas. Cannes offers a certain idea of ​​what cinema is, and Buenos Aires is a great city for movie buffs.” diverse in Buenos Aires.

Women do a lot of running

B.O.’s biggest auteurs appear to be in Ventana Sur offerings like Rodrigo Sorogoyen’s tense drama about rural conflict “The Beasts,” and Alex de la Iglesia’s comedy about romantic rage, “Four’s a Crowd,” with a four-week initial €3.2 million ($3.3 million) In Spain.

From the cartoon! Projects, there’s a good word for the historical epic “The Flame of Blues” from Argentina’s Blu Animation studio, and the documentary series “The Impossible Future” by Martin Haas and Antonio Balsero from Argentina. More high-profile projects deal with the story of the father-daughter relationship in Colombian director María Cristina Pérez’s Daddy of the Truck, Argentinian Ezequiel Torres’s Esther, a coming-of-age action-adventure, and the documentary series The Impossible Future. ”

More buzzwords

“She Wolf” director Tamae Garateguy delivers “Fuckin’ Sexy,” a sex doll altar in Blood Window. Mar Coll presents the Peruvian comedy “Hello, Mr. Hollywood” and Elena Trabi’s “Distances” Gwendolyn, Diary of a Fan. In SoloSeries, Dominga Sotomayor (“Too Late to Die Young”) revealed “Gladys”, about Communist Party leader Gladys Marin; Francisca Alegria, director of Sundance’s “The Cow That Sang a Song in the Future,” will present “Mangata.” The third rising Chilean filmmaker, Manuela Martelli, who Sotomayor co-produced in Proyecta’s “The Meltdown,” and Sotomayor co-produced “Fortnight Breakout 1976,” spoke to his directors in Cannes.

Arthouse goes crossover

Mexico’s “All Fire” and Chile’s “We Won’t Move” and “Sariri” look like potential front-runners for the Primer Corte/Copia final, traditionally a Venentana Sur podium. Seven of the 12 titles feature young protagonists and narratives of age, which is a constructive trend in Latin American cinema, notes Eva Murch-Ken, co-curator of the section. But something is also happening to Latin American art in general. “You used to have mainstream domestic comedies and international art house titles. Now art picture directors are building stories for larger audiences, without selling their souls to the devil,” says François-Pierre Bélinard Lambert, editor-in-chief of Le Film Français. Bergeret agrees. They make films that often consider scoring platforms in production but certainly with one eye to reach the masses.” The end result: Arthus is going crossover.

Bernardo Berger and Jerome Billard
Courtesy of Bernardo Bergeret

Get Out of Jail Card: Co-Production

Why the increased attendance at Ventana Sur? Over the past decade, Latin American art films of whatever ambition have been made in international co-productions. Think of “Zama” by Lucretia Martel. However, with government funding declining across much of Latin America, upward co-financing via the shares of international production partners is, indeed, a must, if the producer does not want to fall too low on budget. Stars, a prerequisite for a lot of attention, don’t come cheap often. “As we saw in Cannes, after two years of not being able to travel, when you talk about projects you really need to feel the people around you. This is very important and a lot of Europeans come to Ventana Sur,” says Billard. Plus, Ventana Sur is offering additional incentives this year, such as BBC Studios offering to mentor SoloSeries winners, says Ventana Sur co-director Bernardo Bergeret.

The big question

With The Beasts grossing 1.2 million euros ($1.2 million) in its first 10 days, Spain is currently in the midst of a Spanish film revival with nine films looking to cross 2 million euros at the box office by the end of the year, a target with great artistic ambition, like the winner. Berlin’s Golden Bear award for “Alcarràs”, “Four’s a Crowd”, “Prison 1977” and “The Beasts”. In France, another group of arthouse crossovers – “The Beasts” again, “La nuit du 12” by Dominique Moll – scored notable results. In Argentina, “Argentina 1985” led the national box office, with 1.2 million entries, despite playing Amazon Prime Video in the latter part of its run. With streamers resetting more than ever as general interest television sets, says Latido Films Antonio Saura, one important question is whether the old world of theatrical distribution followed by the television window can make a comeback. “I think some distributors might look at what’s happening and think, ‘Maybe we have a chance of survival,'” he adds.

Type: More mainstream market offering than ever before

Five finalists for the $25,000 Tinta Oscura Screenwriting Prize attended a five-day workshop at Agavia Studios in Jalisco, Mexico. The winner will be announced during Ventana Sur, says Bergeret. Never before has Ventana Sur offered such a huge cash prize. The award will come in a year when it can be said diverseThe most lauded Spanish-language features were women-type portraits: Huesera” by Mexico’s Michelle Garza Cervera, and “Piggy” by Spain’s Carlota Pereda. The genre seems set to build further. Ventana Sur’s panel, Fantastic Portal, will analyze this growth and challenges that remain.

Video Games: The Suspense Challenge

Pumped by players from Spain and France — think Spiders (“Of Orcs And Men”), Plug In Digital (“Old School Musical”) and Shiro Games (“Evoland”) for the latter — the Ventana Sur vidgame platform looks quite firmly established in its sophomore outing. He also takes one bull’s horn. In the United States, video games and fantasy productions work in a two-way street. In the Spanish-speaking world, there is hardly any crossover. Yet: Juan Manuel Dartizio, at Fabula, Ventana Sur will attend with the express intention of searching for a vidgame IP which could result in a change in a text string.



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