‘Amores Perros’ Draco Films, Kenya Marquez Vie for Ventana Sur Prizes

Fewer titles from Argentina, given the radical reduction of federal support, has made way for more diversity among the entries to Ventana Sur’s industry centerpieces Copia Final and Primer Corte. 

According to Pamela Biénzoba, who shares curating duties with Juan Crespo and Eva Morsch Kihn, new voices from the Caribbean, Ecuador, Uruguay and Peru participate this year. “For instance, there’s a film from Puerto Rico, possibly the first in years – ‘Braided’ (“Trenzadas”) that is highly anticipated,” said Biénzoba, a Chilean-French consultant, programmer and film critic who has been a member of the Locarno Film Festival film selection committee since 2021.

The curating team also observed several coming-of-age proposals from both first-time and experienced filmmakers. “There were also more comedy projects this year – stronger ones than usual as it’s sometimes hard to find truly well-executed comedies,” Biénzoba noted.  

“We’ve found quite a few hybrid projects and films with unconventional narratives, as well as more traditional social dramas or coming-of-age social dramas,” Morsch Kihn concurred, who also noticed more women filmmakers and family-themed stories across the board. 

“It’s true that there is this diversity that really interests us and proposals from both well-known directors and new ones, with films that have been much anticipated,” she said, citing “My Uncle’s Movie” by Natalia Cabral, “Missing” by Kenya Márquez and the latest from Colombia’s Juan Andrés Arango, “Where the River Begins.”

“Something that’s also becoming evident over the years of awards is the high quality of acting. That’s something worth highlighting as well, because there are really strong performances, especially from young actors,” said Morsch Kihn who is also the programming coordinator of Cinelatino Festival in Toulouse and member of the Venice Gap Financing Market selection committee, among other roles. 

“In my evaluation, I prioritized titles with genre appeal, narratives that foster global resonance and projects adaptable to wider exploitation markets – factors that support sales and distribution across multiple territories,” said Crespo, founder of 3C Films, whose credits include sci-fi thriller “5.5.5,” action drama “Reus, la vuelta al barrio” as well as series “The Lord of the Whales” (“El Señor de las Ballenas”).

“The goal was to position these films within festival and buyer circuits that emphasize commercially viable profiles, enabling faster distribution agreements and access to established markets,” he added, noting that while artistic merits remained a priority, the curation aimed to engage a broader audience without compromising quality.

“Working as a team with Pamela and Eva was a highly enriching and educational experience, as they are both outstanding professionals in their field.”

A drill-down on this year’s selection:

Primer Corte

“Awaiting Birds,” (“Madre pajaro,” Sofía Quiros, Argentina, Spain)

The producing team behind 2019 Cannes Critics Week title “Black Ash,” led by Cecilia Salim of Sputnik Films and Mariana Murillo (Murillo Cine), reunite for this coming-of-age story that follows Oliver (8), who stays with his aunt Paloma (26) while his mother receives treatment in the capital. Her illness forces Oliver to confront loss and cling to Paloma, who resists her maternal instincts. Starring Oliver Macluf, Isabella Noorifard, Julio Briceño and Wendy Chinchilla. Supported by Ibermedia, El Fauno, Torino Film Lab and Berlinale Talents.

“Back to Back Copacabana,” (“Bate e volta Copacabana,” Juliana Antunes, Camila Matos, Brazil)

A coming-of-age road drama produced by Ventura with co-producers Globo Filmes and Canal Brasil, follows Paulinha, Gabi and Michele on a day trip to Copacabana that turns into a transformative night along Brazil’s highways. The film continues Ventura’s mission to amplify female and queer voices in Brazilian cinema, with backing from BrLab São Paulo, Cinélatino de Toulouse, LoboLab – Mar del Plata and Brasil CineMundi.

“The Devil’s Well,” (“Los pozos del diablo,” Jairo Boisier Olave, Chile)

The drama, produced by Cangrejo Films (Chile) with Caviar Films (Argentina), Paideia Filmes (Brazil) and Mat Productions (France), follows Judith, a 15-year-old who can find underground water, as she exposes a theft network linked to a powerful avocado farm—and possibly her father. Supported by Cinéfondation–Cannes, BAL-LAB Biarritz, and Proyecta Ventana Sur, it seeks final post-production partners. “It tells an urgent story of water scarcity and corruption,” says producer Diego Pino Anguita.

“The Good Charm Society,” (“Waturapankiman,” Marina Herrera, Peru, Bolivia)

From Desfase Films, China Salka Prods., Mestizo Films and Bolivian co-producer Empatía Cinema, behind Toronto hit “The Condor Daughter,” the comedy follows Alexandra, who inherits her late father’s fortune-telling shop and embarks on a tarot-guided quest. Starring Luz Marina Asin, Olinda Flores and Enrique Araóz, it marks Herrera’s feature debut (“Heroínas,” Berlinale Shorts) and seeks post-production financing. “An experiment in unlearning cinema,” says Herrera, citing natural acting, improvisation, long takes, real spaces and minimal editing to blur fiction and documentary. 

“Petardos y Magnolias,” (Sandra Reynoso, Mexico)

“Amores Perros” executive producer Francisco González Compeán of Draco Films produces alongside Sebastián Jurado Dada and Ximena Basaguren. Drama follows Vera, a young soccer star torn between her dreams and her father’s wishes. She falls for Alan, a school hooligan, discovering love’s risks. Cast includes Ximena Lamadrid, Juan Daniel García Treviño, Andrés Almeida and Mónica del Carmen. “A fresh vision of first love in public schools, a familiar yet rarely depicted setting in Mexican cinema,” says Reynoso. 

“Where the River Begins,” (“Donde comienza el rio,” Juan Andrés Arango, Colombia, Canada, Norway)

Drama follows Yajaira, a young Emberá mother and Jhon, a gang member, as they flee Bogotá toward the Andágueda River in search of belonging. Produced by Inercia Películas, Midi La Nuit and Satæer, with support from FDC, Sørfond, Telefilm and San Sebastian’s Dale Award. Editing first cut in Montreal and seeking partners in financing, distribution and sales. “The film reflects on the way a country seeks to reinvent its sense of belonging after decades of war,” says Arango.

COPIA FINAL (FINAL CUT)

“Braided,” (“Trenzadas,” Raisa Bonnet, Puerto Rico)

Written by Bonnet and Lilian T. Mehrel, drama stars Mar Cruz Abril, Jonaibett Cruz Manso and Valentina Cruz Vásquez. Produced by La Nauta, it’s set in post-Hurricane María Puerto Rico and follows a mother and her daughters searching for home amid devastation, exploring climate disaster’s human impact. Developed with the Puerto Rico Film Commission’s ARPA Program, it participated in EAVE Puentes, MAFIZ, Ventana Sur and Nuevas Miradas. Film is “both a mirror and a memory — of what it means to survive, to belong and to stay,” says Bonnet.

“Low Light,” (“Lusco-Fusco,” Bel Bechara and Sandro Serpa, Brazil)

Producer Rafaella Costa leads the Manjericão Filmes and Macondo Filmes co-production which follows Vera and Alda, neighbors and coworkers whose connection deepens through Alda’s granddaughter, Joana. As both women confront abusive relationships, their friendship becomes a space for resilience. Funded by the Paulo Gustavo Law, the film participated in Cinéma en Construction – São Paulo/Toulouse, Cinemundi – WIP (Mistika Award). “Overcoming violence against women is not only an individual, cathartic journey but also a collective one,” says Bechara.

“Missing,” (“Se busca,” Kenya Márquez, Mexico)

Produced by Puerco Rosa Producciones and Rubicon Productions, led by helmer-scribe Kenya Márquez, Jacobo Nazar and Janeth Mora. Drama stars Rocío Guzmán, Camila Calónico, Eileen Yáñez, Fabián Corres, Ishbel Bautista, and Tamara Vallarta. René, a rebellious teenager, flees her suffocating parents on a 1,243-mile journey to Juárez, Mexico, uncovering personal revelations. Developed with Sistema Nacional de Creadores de Arte support, funded by EFICINE and Focine Postproducción, the film explores “motherhood, love, and family bonds from a feminine perspective,” says Márquez.

“My Uncle’s Movie,” (“La pelicula de mi tio,” Natalia Cabral, Dominican Republic)

Written by Natalia Cabral and Oriol Estrada, dramedy stars Maia Otero, Steven Bauer (“Breaking Bad”) and Félix Germán “The Projectionist”). It follows Julia, a young Dominican cinephile who directs her uncle’s failing action film to secure funding, navigating family conflicts and discovering her own voice. Participated in Cinelátino Toulouse, Panamá Film Match, Bal-Lab Biarritz; supported by Ibermedia and Dominican Film Law. Produced by Lantica Studios, Faula Films and Casa Latina Films, with producers Jordi Gassó, Natalia Cabral and Gregorio Rodríguez.

“She Put Away Her Heart in the Fridge,” (“Ela Foi Ali Guardar o Coração na Geladeira,” Cristiane Oliveira and Gustavo Galvão, Brazil)

Drama produced by Cristiane Oliveira’s Crisol Filmes with 400 Filmes follows Luiza, who receives videos from a stranger in Uruguay revealing a shocking family truth. Cast led by Verónica Perrotta and Maria Galant. Supported by the Paulo Gustavo Law, Cinéma en Construction Toulouse-São Paulo and Mostra WIP, it features an original score by Sonic Youth’s Lee Ranaldo. “This is the first film produced by my company, a natural process that came from a specific narrative structure,” says Oliveira.

“The Passing Deaths,” (“Las muertes pasajeras,” Agustín Banchero, Uruguay, Brazil, Germany)

Produced by Juan Alvarez’s Tarkiofilm in co-production with Arissas (Brazil) and Plotless (Germany), with producers Virginia Bogliolo, Clarissa Guarilha and Tom Schriber, drama follows Felipe, overwhelmed by fear of impending fatherhood, as he flees into a fantasy-filled journey. Written by Agustín Banchero, the film has support from ACAU, Ancine, Ibermedia, Montevideo Socio Audiovisual and Hessen Fund, and participated in Marché du Film, Foro de San Sebastián, and BRIFF, highlighting its strong international trade profile.