Cinéma en développement 14 / 2019

Sin receta (en)

Selection: 

  • Cinéma en développement 14 / 2019

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Chili

Director: 

Gonzalo Díaz

Production company: 

Synopsis: 

Valentín and María have been married for 39 years. They run a pharmacy as a family business. He is a bitter pharmaceutical chemist, while she is a kind therapist dedicated to Bach flowers remedies.
They both have a daily routine until María suffers a heart attack that leaves her very weak. In this new scenario, María demands to be taken care of by her son Antonio, who lives in Brazil and whom she has not seen for more than ten years, due to the bad father and son’s relationship. Valentín does not agree with the idea, but accepts it. Valentín and Antonio’s reunion is less tense than expected until Antonio's partner, Camilo, decides to come to visit Chile and María expresses her desire to meet him. Valentín prepares himself a cocktail of anxiolytics, but after realizing that Camilo is a friendly Brazilian of his own age, he begins to experience feelings of rejection, frustration and confusion.

Somos muchas más (en)

Selection: 

  • Cinéma en développement 14 / 2019

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • Argentine
  • France

Director: 

Julia Heimann
Natalia Laclau

Production company: 

Synopsis: 

In the country of Maradona, the women's football team will participate in the World Cup in France! While the team is training in the Villa 31, a gigantic slum in the center of Buenos Aires, the women's football association, La Nuestra, fights to defend their field threatened by the urbanization. Juliana, coach of La Nuestra, and Yesica, one of the players of the football school of Villa 31, face a double challenge: defend their field and form, from a feminist perspective, the players of tomorrow. Meanwhile, Belen Potassa and Estefania Banini, both forwards of the national team, are preparing to compete with the best players in the world. How does the feminist movement, which is challenging the country since the "Ni una ni menos" protest of 2015, influences these two collectives? What interactions they have? What kind of football are they building: women's football or feminist football?

Soy niño (en)

Selection: 

  • Cinéma en développement 14 / 2019

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • Chili
  • France

Director: 

Lorena Zilleruelo

Production company: 

Synopsis: 

At the age of 12, Andrea decided to become David. His parents no longer had a daughter, mine no longer had a niece, and I had a new cousin. David reassured us, explained that he had always been a boy, but in a body that wasn't his. Today, David is 18. His masculine body has developed through the effects of testosterone. He is a gentle and happy teenager, beset by teenager concerns and by those implied by his new identity. Each in their own way, the people around him manage their convictions, apprehensions and questions. His parents' initial despairwas quickly transformed into a militant defense of LGBT rights. At school, students and teachers accept David. He is preparing to become a physical education teacher, to help others accept and care for their bodies.

Todos os demônios estão mortos (en)

Selection: 

  • Cinéma en développement 14 / 2019

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Brésil

Director: 

Marcus Vinícius Vasconcelos

Production company: 

Synopsis: 

Felipe is a 6-year-old boy, who spends most of his time alone with his grandfather, José, while his mother, Joana, is away from home, working hard to support the family. The tedious and silent routine of the house is broken only by Jose’s recurrent breakdowns. Suffering from Alzheimer’s, when José is not sedated, he become an authoritarian person, flashes of the time when he ran his farm. In the daily tension and solitude, Felipe starts to use imagination to communicate with his grandfather, pretending to share José’s rural past reality. The film runs through this arid daily life, in a constant shift from countryside and city, the rural past and the urban present, the objective and subjective worlds, portraying the routine of an old patriarch nailing the end of his life and that of a boy who grows up mirroring himself in his grandfather’s demented and anachronistic model.

Uaicurapa (en)

Selection: 

  • Cinéma en développement 14 / 2019

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Brésil
  • France

Director: 

Didier d'Abreu

Production company: 

Synopsis: 

In the region of the Uaicurapá river, at the center of the Brazilian Amazon, men and women of different ages claim they were attacked by a “boto”. It is said that those pink river dolphins can metamorphose into human beings at nightfall to seduce the locals, and sometimes even kidnap them to their underwater city. Wherever and whenever they show up, they leave a trace of unwanted pregnancies, panic attacks and mysterious disappearances. The film will a collect a few of those stories, and try to patch up the portrait of a small fishermen’s community in present-day Amazonia — of its particular geography, the feeling of time, of its daily routine and material resources, which govern the relationship between its people and the world, between the people among themselves, and which stirs the imagination, making the very existence of those creatures possible.

Vida social (en)

Selection: 

  • Cinéma en développement 14 / 2019

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Argentine

Director: 

Martín Shanly

Production company: 

Synopsis: 

Divided in separate, self-contained episodes, the film explores different aspects of Arturo’s life, specifically his relationships. Going from exchanges with teenage sister to a casual run-in with his ex-boyfriend, the film slowly but surely delves into the inner struggles of a troubled young man.

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