Ventana Sur 2022: Potential Highlights

BUENOS AIRES – Online in 2020 and with a boutique edition on-site in 2021, Ventana Sur is roaring back that attendance, especially from delegates outside Argentina, seems to be breaking all times

“With all the sales companies, distributors and platforms back, it’s really great to have the same momentum as in 2019,” commented Jérôme Paillard, Co-Director of Ventana Sur, a week ahead of this year’s 13th edition, which will take place from the 28th to the 20th November 28 takes place Dec 2

In a way, there can actually be more. 7 takes on this year’s event, supported by the Cannes Film Festival, Market and Argentine film-TV agency INCAA:

Ventana Sur XXL

Three stats nail this year’s Ventana Sur. The number of delegates from outside Argentina had almost doubled by Sunday, organizers say. Led by Primer Corte & Copia Final, Proyecta, Animation!, Blood Window, Punto Genero, Maquinitas and the Spanish Screenings, projects and pix-in-post pitches have skyrocketed to a total of 120 just in the large sidebars. The entries for the selection are even more impressive: 381 for just five spots in Netflix SoloSerieS pitching sessions, 203 for animation! The vast majority of projects are debut films or series. In other words, since its 13th edition, Ventana Sur has become a giant springboard for new talent, highlighting titles that have passed through massive filtering systems.

Netflix is ​​behind Ventana Sur

Netflix is ​​making a strong push at Ventana Sur. The pitching session will highlight five series: two drama thrillers – Dominican Republic’s Wonderland, Chilean Mangata – plus one action thriller, Colombia’s Underdogs, as well as Chilean drama Gladys and Argentinian dramedy Convince Me”. Two presentations, the second of which will be chaired by Francisco Ramos, Netflix VP of Content, are expected to reach a wider range of Argentinian producers, explaining Netflix’s strong interest in Argentina and “addressing misperceptions.” Little wonder. Introduced in 2011, Netflix has ahead of the competition with an estimated 72% SVOD market share in 2021, according to Digital TV Research. Brazil alone is Netflix’s second-biggest market after the US, with a forecast of 16.4 million subscribers by the end of 2022, says Ampere Analysis. Netflix has a large market to protect and grow.

Film week of the Cannes Film Festival: Thierry Fremaux shows “What cinema is”

Running Nov 28 – Dec 4, Ventana Sur’s Cannes Festival Film Week 2022, all sessions sold out in just one day. This is hardly surprising. Highlights include a master class by French actor Vincent Lindon, this year’s Cannes Jury President, in conversation with Santiago Miter, whose ‘Argentina 1985’ is a strong Oscar contender. The program features many of this year’s winners, including a double screening for “Triangle of Sadness”. As Fremaux introduces each film in his inimitable humorous style, the week also captures the essence of cinema as a live event and lively shared social experience. “We never wanted to do a market without showing films and filmmakers in a cinema. Cannes gives some idea of ​​what cinema is and Buenos Aires is a great city for film buffs,” said Fremaux diversity in Buenos Aires.

Women do a lot with running

Ventana Sur Screenings’ biggest BO hits look like Rodrigo Sorogoyen’s tense rural conflict drama The Beasts, which is selling out quickly, and Alex de la Iglesia’s desperate romantic comedy Four’s a Crowd, which grossed 3.2 million over its first four weekends euros ($3.3 million) in Spain.

From Animation! Projects, there is much praise for the historical epic “The Flame of Blues” by Argentine Blu Animation Studio and the documentary series “The Imposible Future” by Argentines Martin Haas and Antonio Balseiro. Other Buzz projects include the father-daughter relationship story My Dad the Truck by Colombia’s María Cristina Pérez and Argentina’s Ezequiel Torres’ “Esther”, an action-packed coming-of-age adventure, and the documentary series The Impossible Future . ”

More buzz titles

She Wolf director Tamae Garateguy introduces Fuckin’ Sexy, a sex doll slasher on Blood Window; Mar Coll presents the Peru-based comedy Welcome, Mr. Hollywood and The Distances Elena Trape’s Gwendolyne, Diary of a Fan. On SoloSeries, Dominga Sotomayor (“Too Late to Die Young”) reveals “Gladys,” about Communist Party leader Gladys Marin; Francisca Alegría, director of Sundance Selected The Cow Who Sang A Song Into The Future, will present Mangata. A third up-and-coming Chilean director, Manuela Martelli, whose film 1976, whose Cannes directors’ film 1976 was co-produced by Sotomayor, talks about “The Meltdown” in Proyecta.

Arthouse goes crossover

Mexico’s “All the Fires” and “We Shall Not Be Moved” and Chile’s “Sariri” look like potential standouts on Primer Corte/Copia Final, Ventana Sur’s traditional arthouse platform. Seven of its 12 titles feature young protagonists and coming-of-age narratives, an emerging trend in Latin American cinema, observes the section’s co-curator Eva Morsch-Kihn. But something is also happening in the Latin American art house. “You used to get local mainstream comedy and international art house titles. Now Art Pic directors are structuring storylines for a larger audience without selling their souls to the devil,” says François Pier Pelinard Lambert, Editor-in-Chief of Le Film Français. “Directors are now making films and often think about adding platforms to the production, but certainly with an eye on reaching audiences,” agrees Bergeret. The end result: Arthouse becomes crossover.

Bernardo Bergeret and Jerome Paillard
Courtesy of Bernardo Bergeret

The Jail Escape Card: Co-Production

Why the increase in visitors to Ventana Sur? For about a decade, Latin American art films of all kinds of ambitions have been produced in international co-productions. Consider Lucrecia Martel’s Zama. However, with government funding dwindling across much of Latin America, bullish co-funding via the already important equity of international production partners is now imperative if a producer does not wish to cut its budget significantly. Stars, the prerequisite for a lot of streamer interest, are often not cheap. “As we saw in Cannes, after two years of not being able to travel, when you talk about projects you really have to feel the people you have around the table. This is very important and so many Europeans come to Ventana Sur,” says Paillard. Ventana Sur is also offering additional incentives this year, such as BBC Studios offering to mentor winners in their SoloSeries strand, notes Ventana Sur co-director Bernardo Bergeret.

The big question

With The Beasts roaring to 1.2 million euros ($1.2 million) in its first 10 days, Spain is currently in the clutches of a nine-film Spanish film revival that is expected to be released by the end of the year Will exceed 2 million euros at the box office, a double pack with great artistic ambition, such as “Alcarràs”, “Four’s a Crowd”, “Prison 1977” and “The Beasts”, which were awarded the Berlin Golden Bear. In France, another group of art-house crossovers – again “The Beasts”, Dominik Moll’s “La nuit du 12” – have achieved notable results. In Argentina, “Argentina 1985” topped the national box office with 1.2 million viewers, despite playing Amazon Prime Video for the latter part of its run. As streamers recalibrate more and more as general TVs, a big question, says Latido Films’ Antonio Saura, is whether the old world of theatrical distribution followed by a TV window could return once more. “I think some distributors might look at what’s happening and think, ‘Maybe we have a chance of surviving,'” he adds.

Genre: Increasingly an important market proposition

Five finalists for the $25,000 Tinta Oscura Genre Screenplay Awards attended a five-day workshop at Agavia Studios in Jalisco, Mexico. The winner will be announced during Ventana Sur, Bergeret says. Never before has Ventana Sur offered such a high cash prize. The award will probably be presented in a year diversityThe most acclaimed Spanish-language debuts were both female genre pictures: Mexico’s Michelle Garza Cervera’s “Huesera” and Spain’s Carlota Pereda’s “Piggy”. Genre seems to be evolving all the more. A Ventana Sur panel, Fantastic Portal, will analyze this growth and the challenges that still linger.

Video Games: The Challenge Ahead

Powered 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 – Ventana Sur’s vidgame platform shines to be fully established Second outing. It also takes a bull by the horns. In the US, vid games and fiction productions work both ways. There is hardly any crossover in Spanish-speaking countries. For now: Juan Manuel Dartizio, at Fabula, will be visiting Ventana Sur with the express intention of seeking a vidgame IP that could lead to a rewrite of the script series.

https://variety.com/2022/film/global/ventana-sur-2022-1235443045/ Ventana Sur 2022: Potential Highlights

Charles Jones

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