Cinéma en développement 8 / 2013

Algo que ver contigo/ Esas alegrías que ocasionan incendios (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Mexique
  • Guatemala

Director: 

Julio Hernández Cordón

Production company: 

Synopsis: 

Sara is a mother who has just separated from the father of her daughters. She is thirty-three. As much as she tries, she can’t find a job. She studied interior design. Sara is thin and decides to start an aerobic center in her garage. She sees no other way to generate income, owes the rent, school, light account, credit cards and the father of her girls disappeared. They say he went to the sea to surf and live out of nothing. Sara lives in a middle-class condo. With her daughters she hands out flyers to promote the gym with her neighbors. She knows nothing about aerobics, and online she studies Jane Fonda’s videos. To her surprise several neighbors enroll in her classes. They are older women; many are obese and ashamed of cellulites. Some of them are elderly. They become a 15 women group. Sara solves her lack of gymnastic knowledge by placing a TV in front of the window that leads to the garage, so that the women have their back towards the window. She places a white curtain that projects the video a bit. This way she puts on the Jane Fonda video without the others noticing it. With the music excuse, she controls the video via remote control. The ladies are aware of her problems and want to help Sara. Little by little they became a group of women who want to lose weight, rejuvenate and talk about their love-hate relationships. Aerobic classes generate morbid feelings among the neighbors. And even though the gym is a success, it’s not enough money for Sara. In a moment of desperation, due to the fact that her children were upset because they couldn’t celebrate the birthday in the fashion ballroom place, she does something unthinkable for her. She steals on birthday parties were her daughters are invited. When the other mothers gather to sing the birthday cake, she digs into the bags that were left in the tables. Something to do with you is a strange mix of comedy and criminal film.

Arcadia (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • Argentine

Director: 

Daniele Incalcaterra
Fausta Quattrini

Synopsis: 

The story unfolds in a mysterious land, situated in one of the last frontiers between civilization and nature, the Paraguayan Chaco. It is the ancestral territory of various indigenous communities, including the Ayoreos living in voluntary isolation, avoiding all contact with the settlers. The Chaco is hostile, inhospitable, far from everything but the desire for conquest and wealth. There is fever triggered by the possession of the land.
This project is connected to the last movie we made, The Impenetrable, where we tell the story of a legacy: 5,000 hectares of virgin forest in the heart of the Chaco. The Impenetrable is a western documentary. During its shooting the thread that guided us was the need to return those land to the Earth, to its indigenous people, the Guarani Ñandevas. A goal that was fading while filming progressed, to prove an impossible dream. The reality forced the protagonist, Daniele Incalcaterra, to change course. To save these 5,000 hectares of deforestation, he had to create a nature reserve in perpetuity that called Arcadia.
The new movie project takes its name, Arcadia, intending to tell through the vicissitudes of the protagonist to ensure the natural reserve, what interests threaten its existence. They are the same interests that are deciding, far from prying eyes and ears, if the virgin forest of the Chaco, second only to the Amazon, may exist in the future. Arcadia is a « thriller documentary film ». Also this time a dream: the protagonist, Daniele Incalcaterra, will be killed in the Chaco during filming. When he gets there, his reputation precedes him. Incalcaterra is no longer a lost and uninformed foreigner striving to find the location of his land in the Impenetrable. Arcadia has become an uncomfortable reality that many fear will become a symbol of resistance. So Incalcaterra has been declared persona non grata in the Chaco. For more than a year he has been intruding and sticking his nose where occult powers would want to conduct their business in silence, with the utmost discretion, in an almost uninhabited territory where the State is absent.  

 

Arcoiris a Cuba (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • France

Director: 

Jean Baptiste Erreca

Synopsis: 

Mariela Castro is a real personality in Cuba. Daughter of President Raúl Castro, she is the Director of the National Centre for Sex Education (CENESEX) and also advocates for the rights of homosexuals and transsexuals. Today, Mariella is doing to change mentalities and establishes laws. In Havana, the power allows even a "Love Parade" called "Conga" where dozens of people protest for more democracy, timidly. Another revolution has finally reached the island of Cuba. Changes occurred in 1993 when Tomas Guiterrez Alea realized” Fresa y chocolate” the first Cuban film which opened discussions on the topic of homosexuality. What is less known, is that it had a great popular success on the island. So, with this theme, our documentary will be extremely controversial: supporters of the Cuban revolution will see an evidence of the tolerance of the system. But the testimony of Cuban artists and intellectuals, denouncing the repression against homosexuals in the years 1960 and 1970, will give a strong counterpoint to this story. With all witnesses of the film and surprising sequences, sometimes, our documentary looks like a light comedy with serious social issues.The film will bring a special focus on the subject and the director Jean-Baptiste Erreca, will  give a sensitive and joyful view about homosexuality in Cuba.
Movies:
- Fresa y Chocolate Tomas Gutierrez Alea and Juan Carlos Tabío
- The Mariel boatlift
- The UMAPS in the 60s and 70s

 

Donde Sueñan los Salvajes (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Pérou

Director: 

Adrián Saba

Production company: 

Synopsis: 

At some moment in our lives we all stop chasing our dreams. At some point reality becomes too strong for us to avoid it. It happens to all of us, and in this particular case, it happens very early to many abandoned teens in the city of Lima, who grow up orphan or in harsh family environments. They are left to fend for themselves and form gangs just for the mere sense of belonging somewhere. Sebastian, an eighteen-year-old afro-peruvian boy, is the quiet one of the gang, he receives daily bullying because of his inability to connect with the group of kids he hangs out with. He feels this isn't where he is meant to be. Until one day he meets Jaen's sister: Emilia. This is a problem because Jaen is the gang leader which makes Emilia unreachable for any boy who wants her. Nonetheless, Sebastian can't help his feelings and they will cautiously fall in love and fight to stay together in a world that plagues them and pushes their dreams away.
 

La juventud del río (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • France

Director: 

Nicolas Pradal

Production company: 

Synopsis: 

Most of the times discussions about French Guiana are related to nature issues, ecology, illegal immigration, gold diggers, or even space rockets launched from Kourou. Authors Nicolas Pradal and Pierre Selvini offer to share the simple life of an American Indian village, Talwen, where live the Wayana people, descending from Caribean Indians.
They chose to approach the subject through education, which allows us to have a better understanding of the gap between the original culture and the French culture, represented here, thousands kilometers away from the mother country, by the village primary school, Maripasoula’s secondary school and Cayenne’s highschool. The uprooting of the Wayana children, who must follow their education in the nearest city, contribute to accentuate the conflict between tradition and modernity, making the latter more significant, at the expense of the deep roots of this people.
Authors have also chosen to evoke several changes lived by the Wayana: neighbor conflicts about gold washing, quick westernization of habits, but also resurgence of interest for their original culture, probably in order to protect themselves and ensure the survival of founding myths. We feel concerned for the theme suggested in the documentary: the life of overseas French people. And if only 1500 Wayana Indian live today, what is their future, and the future of this faraway territory?

 

La libertad del Diablo (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • Mexique

Director: 

Everardo González

Synopsis: 

In five years, its estimated that the war against organized crime in Mexico has left a death toll of 100,000 people executed and more than 300,000 indirect victims (children, widows, parents, friends of the deceased, etc.).
This documentary will record the stories of some of the victims of these nationwide stories, of those who committed the acts of violence, of those that suffer them, and of those who work in the resolution of the cases. Throughout a collection of testimonies, the viewer will perceive the chronicle of such terrible times.
As in any war, in Mexico, violent death has become a daily occurrence, the deceased have been stripped of their dignity, becoming just cold statistics of a war that hasn't been neither won nor lost. Mexicans have now grown accustomed to have breakfast with news splashed with blood; media have focused on incubating cold statistics, each victim is presented only as a side note, without going through the filter of compassion and empathy necessary to digest and purge the horror. Due to the foregoing, this documentary will not focus on the violent act itself, but on the fears and nightmares of people close to such terrible events.
The voices that shape the story will be those of  civilian witnesses, police  force,  grave diggers,  boys that go through adolescence with resentment,  families that  suffered forced exile; the voices of  immigrants who take a train just to fall into the hands of an executioner,  widows and mothers looking  for their children and partners.
The result will be a reflection of how fear has been inserted into our subconscience.
 

Lejos de la locura del mundo (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • Argentine

Director: 

Rubén Guzmán

Production company: 

Synopsis: 

Far from the Maddness of the World, a feature-length documentary project, is mainly an observational triptych which portrays the lives of three Patagonian men that live in isolation, leaving no significant ecological footprints.
The son of Basque emigrants, a retired railway worker now lives in an abandoned train station in the remote steppe of the southern tip of the American continent. There, he raises livestock and finds the means to survival under harsh weather conditions. Back in the 70s, escaping from the bloodshed of a military dictatorship and the intolerance of a family that could not stand The Beatles, J took off from Buenos Aires to London, Berlín and Goa in India. After alternating between punks and mystic Osho, he landed in Bolsón, the "Argentinean Woodstock". Himself a mystic figure, J lives next to a crystaline river, which provides power and quietude to his "apocalyptic paranoia".
Almost 400 meters high and 100 meters wide, Piedra Parada (Standing Rock) stands amid relentless wind, like an impenetrable tower in Patagonia. A challenge for many climbers, the site has become, however, the residence of a Canadian who chose a secluded life away from his native country, safe from the spell of capitalism. The three observed lives constitute three dissimilar examples that illustrate the concept of Simple Life as contained in a quote from writer R. Walser, who originated this project: "The future paled, and the past dissolved... I had the whole rich earth immediately before me, and I still looked only at what was most small and most humble."
The documentary, which should serve as a mirror to the viewer, is a tribute to the Simple: that which "conserves the puzzle of what abides and what is great.", according to M. Heidegger, and an attempt to raise awareness while fanaticism, consumption and the wars that feed them acquire the intensity and form of a whirlwind that drags us deeper down in free fall.

 

Lisboa (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Mexique

Director: 

Pablo Delgado Sánchez

Synopsis: 

LISBOA is a portrait of two people in search of a family, in search of a home. Chance will make them cross paths.
Helena (55) lives by herself in a huge house owned by her best friend, who doesn’t make her pay rent. Contact with the outer world is ever more difficult for her, the house becomes her lair. She is a teacher, but that doesn’t satisfy her anymore. Her days are spent in between the few classes she gives at the university, staying at home and drink as much liquor as she can.
Her friend the owner has decided to rent the bungalow in the garden to improve their economic situation. Helena is dealing with a very strong crisis, which makes her umcomfortable in her own skin. She tries to stop the moving of the new tenant without success. Santiago, a young Spaniard man who is coming to study in Mexico arrives to upset the life of Helena. Santiago has a strong conflict of his own, a void in feeling part of a family, resulting from the distance he has felt with his parents since he can remember. Despite that he conveys a warm and friendly personality. At first their convivence is tense and hostile. Helena imposes a barrier between them causing the discomfort of Santiago.
Helena gives up her teaching job and because of the time spent stuck in the house she starts to see Santiago in a new light, feeling empathy with him.
Both of them develop a strong bond based on their loneliness and alcohol. A complicated relationship starts between them, where at times they act like mother and son, then as accomplices and some other times with a strong sexual tension.
It is difficult to categorize the relationship between them. Sharing the same space for so long evolves into a codependency that affects Helena the most. At the height of their relationship Santiago discovers that Helena has kept a secret: the death of her son years ago during a trip to Portugal.
Santiago walks away silently thinking he can not replace anyone's son. Helena begins to have a new light in her eyes.
 

Mátame por favor (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Brésil

Director: 

Anita Rocha da Silveira

Production company: 

Synopsis: 

A crime wave scares Barra da Tijuca, a middle-class neighborhood in Rio de Janeiro. Bodies of teenage girls are found lacerated in pieces at the wasteland surrounding the area. The cuts and bruises in these bodies are so strange that the neighborhood youngsters start to come up with stories about aliens and werewolves…
In this environment lives Bia, 15. At her school, she's part of a group of inseparable friends. They enjoy practicing sports and intimidating those who bother them. She also has a sort of boyfriend, Pedro. However, while he looks for a typical romantic ideal in her, Bia wants to fulfill her own desire.
João – Bia's half-brother, 11 years older – spends his days inertly on his computer. He doesn't work or study and still lives in his mother's house. He has tried, not too hard, to start a career as a DJ. In opposite, Bia and her friends roam freely through the neighborhood where they live. To smoke a joint as an excuse, they go deeper into the region’s bushy open fields on their way back from school.
On one of these occasions, Bia comes across the lacerated body of a young girl about to die. Bia walks up to the body; she still has a pulse! The girl moves closer to Bia, and face to face with death, kisses Bia in her mouth. From that moment on, something new awakens within Bia: she wants now to feel alive at any cost. And to achieve that, she will have to jeopardize and mark her body more and more.
Meanwhile, João tries to get in touch with a girl whom he claims to be in love with. Yet, she doesn’t reply any of his text-messages or logs on to Facebook. She has faded away from his virtual world. Could she be dead? Or has she just blocked him from her social networks?

 

Muerte en Arizona (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • Bolivie
  • Mexique

Director: 

Tin Dirdamal

Production company: 

Synopsis: 

A contemplative film about a filmmaker's lost love. Devastated after being abandoned by a powerful love, he returns to her now empty apartment where they met and lived in the city of Cochabamba, Bolivia. With no intention to turn his footage into a film, he begins to document himself through the empty spaces, and the remains of a profound love contained in these walls. The camera becomes a vehicle of self-liberation as he attempts to take this loss and rid it from suffering. Surrounded by a Bolivian city submerged in an unceasing revolution, tainted by political unrest, the life outside the apartment begins to make its way inside. After searching in every room and corner for some comfort, the camera begins to look out the windows. The busy schoolyard of a high-school, the changing seasons, the night feuds from the next door neighbors, a girl playing in a junkyard of metal scrap, the demolition of an old house and the subtle changes over the course of 1 year help shape a filmmaker's own inner battles and transformations. A film about a man's inner journey, shot entirely from his now 3rd floor apartment, the relationship with his windows as a vehicle into his inner quarrels in pursuit of answers.

Ngöbe (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Costa Rica

Director: 

Laura Astorga

Synopsis: 

Dulce is a young ngöbe woman (a Central American ethnicity) who is incarcerated for a murder that is completely justified according to her community’s norms. Yet the “white law” of Costa Rica does not take
into consideration the social codes that predominate in her homeland. Her silence during her trial proceedings leads many to believe that, in addition to being unfamiliar with the white, Western legal code of the
state, she is deaf and perhaps retarded. While interred in a prison that at times seems more like a finishing school for ladies than state penitentiary, she learns Spanish, is
able to eat three meals a day and figures out the price tag of each one of her fellow inmates. For Dulce, this is knowledge becomes a resource that was previously unthinkable in village life.
 A lawyer from an NGO manages to reopen her case, based on the fact that Dulce did not have access to an interpreter during originalproceedings. This is classified as a miscarriage of justice and journalists and
activists seize upon the opportunity to cast Dulce as an abject and enigmatic savage also learns the ways in which things are stacked up against her. This last lesson,
however, is nothing new to her. Dulce is granted a full pardon but is required to sever all ties with contacts she has recently made in prison. However, “white law” has penetrated Dulce’s way of thinking
and when she returns to her community, she finds that her family has left her behind. She tries to look for work in the city but winds up destitute and unemployed and commiserates with other migrants of her
ethnic group. Finally, she is presented with an opportunity to work in something illicit and must choose between the freedom that ultimately condemns her or prison, which seems to offer her a greater sense of liberty.

Porque mis amigos se fueron a Europa (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • Argentine

Director: 

Juan Diego Kantor

Production company: 

Synopsis: 

It is a comic and surreal documentary with uncertain limits between fiction and reality. Juan Kantor, its filmmaker, is given the chance to relocate a few kilometres away from his hometown, and it is at this moment, when having second thoughts, that he wonders why his friends left for Europe. Juan, through recollections and true recreations, will try to figure out the causes of migration, and in particular, the reason why his friends, went to Europe; a continent with traditions, climates and jobs so different from their home country.His research focuses on three main mass exoduses that have shaped Argentinian history.On the one side, he studies the migration flow of the 50’s, after the visit of his uncle, now an American citizen, who explains to him the reason of his own migration during the first period of Perón.
The second migration flow consists of the forced exile of the 70’s, which took the protagonist’s Peronist parents abroad to safeguard their lives and to become parents of Juan Diego Kantor.

In the third part of the film, Juan contacts his friends who emigrated to Europe in 2001, in order to put an end to his search and discover the meaning of these journeys, which left families and traditions behind, often to risk their freedom as illegal immigrants.
"Why my friends went to Europe”, presents us with a filmmaker experiencing different migration flows. The son of migrant parents, who at an early age had himself to migrate from Italy to Argentina to undergo the exodus of his loved ones twenty years later. That way, the character of Juan Kantor, presents to us a personal look at his life story, which is different generations intertwined with the stories of three.

Sonhos de Rossi (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • Brésil

Director: 

Caru Alves de Souza

Production company: 

Synopsis: 

Laundry area. Rossi, 17, passionately kisses Cassio, a friend of his brother Cauê. Bathroom. Rossi is masturbating and is surprised by his mother Eunice. Living room of an apartment. A family gathers around the television. It is very hot, but the windows are closed, because the apartment is only a few meters away from an enormous viaduct, the “Minhocão” that crosses the city from west to east. Eunice is standing in front of the closed window, enjoying the subtle breeze that comes through a crack. Cauã, 20, is alone on the couch and casually moves the fan with his feet. Borges, 50, watches television in his chair. Rossi, 17, enters the room and sits on the floor. When he does that, he drops the fan on the ground, breaking it.  Cauã scolds him and goes to the window, opening it with hardly, leaving the deafening noise of Minhocão invade the room. Borges looks at Rossi with disapproval and asks Eunice to increase the TV sound. Eunice doesn't hear him asking, and Borges, angrily, leaves the room. Cauã goes to a nightclub with his friend. Rossi goes to the window. Eunice sits on the couch and stands still.
This is the routine of this staggered family where Eunice and Rossi can't find their place, not even close to each other. To bear this hard everyday, they take refuge in daydreams, each on their own.
Daydreamer is the chronicle of a weekend where Rossi will find, in the street, characters that, like him, are mismatched. The street is configured as the stage of Rossi's sexual and affective initiation. On this journey, Rossi experiences the disaffection and affection and, thereafter, may react to his brother's threats and approaches his mother's of truth.
 

The kaiowas indians after the film (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • Brésil
  • Italie

Director: 

Marco Bechis

Synopsis: 

Going back to the locations of Birdwatchers to track down the protagonists: the Kaiowas. We don’t know  yet where are some of them today. It's been years since Birdwatchers was screened at cinemas in Brazil and around the world. The international press  thenwas worried about the genocide of indigenous peoples. But the echo of that sound is already extinguished, muffled by the media whirlwind.
The film wants to answer some questions: What are the consequences of that movie today in the Kaiowas communities? Has Birdwatchers become an instrument of the indigenous resistance strategy? And if so, how?
The return to the filming locations will launch a two-level parallel narrative: making films after the film, connecting different times (2007-2013). A before and after to discuss Kaiowá today. But also to discuss the film and its inevitable political implications.
The actors, real Kaiowas, will talk about their own present, the return to daily life after the shooting, individual and collective hopes and difficulties they faced after the crew left.
Short stories, episodes, which collectively make up a story. Kaiowas actors and also key characters of the preliminary investigation: the anthropologist, the white inhabitants of Dourados (filming location) and the technical team.
Who owns the film then? Who is suitable and who took control of what and how? Who owns this story? What role can play the film at the distance of years? Is it a "racconto" still connected, that “shows”?
Is it an experience still alive among the Kaiowas? These are some of the questions that will guide the documentary film "The Kaiowas after the film" , with the aim to investigate how a film approaches the reality that intends to shoot, and examine the social and political context in which the art practice occurred.

Todas las escuelas del reino (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • Italie

Director: 

Marco Bechis

Synopsis: 

The ‘rite of passage’ from childhood to adolescence of Costanza and Marvel, two girls aged 11-12. They go to school in the Vucciria district of Palermo (Sicily) – a district boasting the architectural magnificence of Sicilian Baroque, while being also the frontier zone between Europe and the immigration flow from the rest of the Mediterranean basin.
Marvel, the beautiful African girl, already treated as an outsider by some of the other kids, sits on her own at a desk at the back of the classroom, with Costanza jeering at her more than anyone else.
Marvel is defiant, reacting at times in a violent manner. One day their teacher, Ms Montello, having reached the end of her tether, and in the hope of putting a stop to this constant conflict, asks the Headteacher, Ms Cardone, to suspend both Costanza and Marvel from school. Incensed, the Headteacher replies that no one ever gets suspended from her school, and takes a drastic decision: Costanza and Marvel will share a desk until they make friends with each other. And they eventually will.   Many other characters take shape around this central story: Ms Montello, the left-leaning intellectual teacher, suffering an inner conflict while searching for an impossible synthesis between the ideal school and the harsh reality surrounding her; the Headteacher, Ms Cardone who, to the annoyance of her elderly husband, hardly ever returns home for lunch before 3 in the afternoon. This is because every day, once the bell marking the start of the school day has rung, she intercepts all latecomers and makes them stay on with her past the end of the school day at lunchtime, for a length of time matching their lateness.  It’s an ‘instructive punishment’ to which she devotes her lunchtimes. The decision whether to progress to High School or leave and find work represents a true ‘rite of passage’, one of the most significant moments in one’s life.
In that ‘anomalous’ space of time, we come across stories of love, jealousy and friendship, within a context of cultural poverty and immigration. All this in one of the most deprived districts in the whole of Italy – a frontier zone between Europe and the rest of the Mediterranean basin.

 

Todos Los Muertos (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Brésil

Director: 

Caetano Gotardo
Marco Dutra

Synopsis: 

Set in the final months of the nineteenth century and the very beginning of the twentieth, The Dead is the story of the decline of a family in São Paulo, narrated from the point of view of its three women: Isabel, the mother, and her daughters Maria and Ana. After the death of their maid Josefina – a former black slave back from the times when the family lived in the coffee farm – the notion of “home” seems to stop making sense. Isabel gets sick and does not get better. The doctor gives her a few months to live. Maria, a nun and teacher, has little time to devote to the house. She puts her sister Ana in charge. But Ana is a strange, quiet and lonely quiet girl who never was able to get married. As time goes by, Ana develops an obsessive relationship with the memories of the family farm and the slaves who lived there. Their ghosts come back to haunt her. Also, the three women miss Jorge, the father, who left them in the city to work for the Italians who purchased the old farm. The women know, deep down inside, that he will never return. The film is set around three big Brazilian holidays: Independence Day, Day of the Dead and Carnival. With few resources and unable to share the euphoria that comes with the modernization of the city of São Paulo, Isabel, Ana and Maria inexorably approach illness and madness.

 

X Quinientos (en)

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Selection: 

  • Cinéma en développement 8 / 2013

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Colombie

Director: 

Juan Andrés Arango

Production company: 

Synopsis: 

When taking a look at the map of America, X Quinientos, a small village in the Yucatán state, in Mexico, appears just in the middle of the continent. From this imaginary point of reference, the movie tells the story of characters who live in radically different contexts, but who are related to each other due to their singular relationship with death and to their need of changing in order not to be consumed by their mourning.
Alex, an afro-Colombian teenager, who lives in Buenaventura, the most important yet most dangerous port in Colombia, has to create and imaginary version of his life as a stowaway in the North in order to justify the death of his brother and travelling companion.  David, a Mazahua youngster who migrates from his town to Mexico City because he is incapable of dealing with his father’s death, realizes that the only way to face the discrimination indigenous people are subject to in the F.D. is by adopting a Punk personality as a protective armor.  Aurora, a mature woman of a Filipino origin who has lived in Montreal for 35 years, finds herself in the obligation of taking care of her teen grandchild, who comes to live with her after the death of her daughter. Aurora has to then try to adapt her life in the city to the image that Peter has of North America, image which was created from the stories in her letters, distorted by the longing and the distance, now incompatible with her current life.
The stories of Alex, David and Aurora get close and engage in a dialogue in which they never come across each other. This group of stories explores three different ways in which as inhabitants of America we create a self-representation of ourselves to protect us from death, and to get closer to how we think the others want to see us. The invisible conversation of desire and mourning with which people from America relate to each other, is the underlying theme and unifying thread of X Quinientos.