Cinéma en développement 7 / 2012

240 días esperando una respuesta (en)

240 dias esperando

Selection: 

  • Cinéma en développement 7 / 2012

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • Cuba
  • Espagne
  • Suisse

Director: 

Heidi Hassan

Production company: 

Synopsis: 

Between 2010 and 2011, about a hundrer Cuban political prisoners and their families arrived in Spain following a convention signed by the governments of both countries, with the mediation of the catholic Church. This convention stated that those prisoners of conscience would be liberated; in exchange they should be deported from the island. Carlos Martin, a cuban prisoner reaches Spain with seven family members: Sabina ( sister,45years), Ramon (step-brother, 46), Julia( mother,71) Carlitos ( son, 25) Yandri (nephew, son of Sabina and Ramon, 20), Yixi ( Yandri's wife, 15) and Ineibis (niece, 13) After two months spent in a "Welcome Center" the family angered by the living conditions, begin a hunger strike. They demand from the authorities a private home, jobs and economic help, which were the promises stated in the convention. The autorities of the center, then, considering their behaivour inapproriate, decide to explulse them from the center and from the help program for refugees.Once in the street, the family ask the Ministry of Exterior Affairs for help, but neither the latter or any other organism agrees to take up their case. Without any place to go, the family decide to camp in front of the Ministry. Today, they have been living there for 7 months. Sabina - the head of the family- has set up, through strict disciplin, an organized routine wich allows them to maintain a certain order and dignity: three warm meals a day, obligatory shower and clean clothes, prohibition of alcohol, and daily school attendance for the girls.They maintain an extremely active social life and avoid any kind of illicit behaviours, but they do not succeed in integrating themselves in society. As products of the communist regime, the family are suddenly facing the world of capitalism of wich they ignore the codes of entry.This film intends to depict the painful and complicated process of uprooting, as well as portraying some aspects of present Spanish society.

As Boas Maneiras (en)

as boas maneiras

Selection: 

  • Cinéma en développement 7 / 2012

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Brésil

Director: 

Juliana Rojas
Marco Dutra

Synopsis: 

Ana’s attempts to have her first baby completely on her own and away from her hometown don’t seem to be going well. She tries to take care of the flat she rents in central São Paulo, attend her medical appointments and everything else on her own, but eventually gives up and puts up a discrete ad for an assistant and nanny for the upcoming baby.
After many failed interviews, Ana meets Clara, a woman from the suburbs of the city who holds a degree as a nurse. In need of money, she is drawn to a job announcement that doesn’t interest any of her colleagues – the full-time care of a single pregnant woman. Clara and Ana have an instant connection.
Clara takes the job and moves from her suburban neighborhood to Ana’s flat downtown. Although the relationship between the two is mainly professional in the beginning, they soon realize they have similar personalities and taste for solitude. Clara notices something else in Ana: fear. Her pregnancy is not a safe one, and Ana has doubts about going on. One night, Clara hears Ana’s scream: the baby is coming early. Ana dies before Clara’s eyes as her son rips through her body.
It is no ordinary baby. To Clara, he looks a little like a wolf. Her first instinct is to kill it, but she cannot bring herself to do so. She carries it away. Across the town in the middle of the night, Clara goes back home and hides the baby from the world. She figures time will tell her what to do.
As time passes and the child shows traces of a violent behavior, Clara has to learn to see beyond the inhuman features. She has to try to teach the child good manners, and also keep it quiet and hidden: there is a chance they are being chased. The father of the child wants it back.
 

Camino de campaña (en)

La carrera del animal

Selection: 

  • Cinéma en développement 7 / 2012

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Argentine

Director: 

Nicolas Grosso

Production company: 

Synopsis: 

Agustín comes back to the hills and waits for the beginning of the judgment where he is accused of killing his parents. She stays at Matias’, a farmer who worked for the family and knows him since he was a kid. Agustín gets involved again with the locals: from childhood friends to people related with the investigation. The pass of time and his unavoidable link with death stains every rapprochement to any person in village. Also Matías decided to take some distance, not trusting him because of the murmurs his presence sparks off. Some anonymous threats fell over Agustín’s back alter heating a policeman when he visited the crime scene –his childhood home-.
At the same time, Leila arrives to the hills on a storage truck. Her cell phone rings over and over but she doesn’t seem to notice it. The first night, she stays at some stranger’s house where she steals some clothing. The next day, she calls Adriana, her father’s ex wife, who lives on her own because of her recent divorce. Once again she escapes and manages spending some hours with a monastic community, from where she is expelled for hurting a nun. Leila doesn’t seem to feel comfortable nowhere. She neither seems to know what’s the path she has to take. She battles with headaches and doesn’t contemplate her family or her past. In the meanwhile, at the city, they seek for her.
Agustín meets Leila by chance a spend two days together before the judgment. They visit places from his past, including his parents’ house where the crime is being reconstructed. She seems calm with him; anyway her mood is always unpredictable. The both appear on TV and newspapers: Leila because of her disappearance and Agustín because of his criminal situation. They seek together for a place where to sleep, they have sex and they rest from the others. Once again they go back to Matías’ house where they face the violence. Agustín kills an intruder because of what he supposed an abuse situation to Leila. The circumstances are moving for the two of them. The next morning, Agustín attends to his first day at Court. Leila steels some Money and takes a bus to a new uncertain destination.
 

Cataluña en el diván (en)

Selection: 

  • Cinéma en développement 7 / 2012

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • Espagne

Director: 

Adam Isenberg

Production company: 

Synopsis: 

After centuries of linguistic conflict between Spanish and Catalan--including the persecution of Catalan for decades under the dictatorship of Francisco Franco and then the language's promotion to (co)official status after his death--the collective psyche of Catalan society suffers a peculiar neurosis. Today, the simple matter of a restaurant owner choosing which language to use on his menus can reveal anxieties about immigration, historical memory, collective rights, the construction of identity and the role of the state in normalizing behavior.
'Catalonia on the Couch' explores the ongoing language conflict in Catalonia through the testimony of a wide spectrum of people who live there. One after another, young and old, a stream of dozens of residents of Catalonia from across the political and socioeconomic spectrum will sit down on the same couch to reveal personal stories from the front lines of the conflict. The participants are not politicians, academics or other such experts, but rather everyday people with personal stories of frustration, misunderstanding, and alienation that reveal the complex relationship between language, identity and power.
Many Catalan speakers feel their language is disappearing under their feet, but in some circumstances they are shamed out of speaking it. Many Spanish speakers resent what they see as an imposition of Catalan. Many new arrivals look quite harshly on Catalan, perceiving its use as excluding them, while other newcomers embrace it as a means of integration. Some with Spanish as a first language grow up to self-identify as Catalan speakers, while others with Catalan as a first language prefer to use Spanish by default. All have their reasons, and their techniques for navigating Catalonia's tricky linguistic terrain reveal unavoidable tensions.
The edited film will play as a stream-of-consciousness, jumping from participant to participant and back again to create the effect of a single character--Catalan society--in conflict with itself.
 

El Director (en)

Image

Selection: 

  • Cinéma en développement 7 / 2012

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • Colombie
  • France

Director: 

María Isabel Ospina de los Ríos

Production company: 

Synopsis: 

In the mid-90s,with the advent of mechanized cane production in Villapaz (a village south of Cali, Colombia), the inhabitants ceased growing their own crops and being self-sufficient to become proletarians. Víctor Gonzáles, aged 28, belongs to that generation of young people for whom the only sources of income in the village were cutting sugar-canes (single crop in the area) or working in the building trade. Yet 3 years ago, Víctor discovered that he could film with his mobile phone. Since then there has been no stopping him. In Villapaz he is known to everyone as 'the Director'. His films have brought about a small revolution in the village, and have given importance to that small community, great numbers of whom rush to see the screenings organised in the main public park.
'I like fiction, providing it holds real, true-to-life things". The settings of Víctor's films are the houses with mud walls, the backyards where people raise hens and grow vegetables. He conceives his characters from the people in Villapaz - the rich cane-field owners who dress like traffickers, the hen-thieves who steal into the backyards, the village idiot who does not speak correctly. Magic and religion are present in his films: there are stories of wizards and healers, of evil spells and legends such as that of the 'hairy hand' that kills children, or that of the banana tree from which blood, instead of milk, gushes out if it is cut during Holy Week. As he uses natural places and actors and builds the stories from actual facts or the community's beliefs, the inhabitants of Villapaz mix up fact and fiction. Víctor's films often spark off fierce debates, because of their tragic endings, because, according to the people, the villainous or ignorant characters may tarnish the reputation of the village in the cities. His films denounce the injustices, show the beliefs of the population, and tries to understand and reproduce the community's traditions. The documentary shows the multiple facets of Víctor: the building worker, the cane-field labourer, the artist, the director. His film-making work will be a gate into some cultural aspects of Villapaz' community. The main thread will be the making of one of his films from the original inspiration until its first screening in the public park.

Hierro (en)

Hierro

Selection: 

  • Cinéma en développement 7 / 2012

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Chili

Director: 

Alejandro Fernandez Almendras

Synopsis: 

Mauricio Catalan, 45, is a successful lawyer, a partner at a "boutique" law firm focused on environmental issues. Like any good trial lawyer, Catalan is charismatic, dynamic and with great power of persuasion. His rhetoric is relentless. Also, like any good lawyer, he has often had to defend clients who are on both ends of the environmental arena. Some great legal victories for small communities fighting against big multinational companies have earned him a legendary reputation. But he has also scored big points for big companies trying to take advantage of smaller competitors.

Through an environmental NGO, Catalan is contacted by an indigenous "mapuche" community in the south of Chile, concerned about the recent activity of a large mining company in its territory. The communities in the area are aware of the rich iron deposit that rest on their ancestral lands, and understand that they need someone to defend them against the great business interested in it. They need the best lawyer. After studying the case, Catalan decides that there is an opportunity to pressure the company to reach an agreement that is favorable for the community, and by extension, to himself. Catalan move his contacts and conducts complex judicial maneuvers, while constantly traveling to the area to be in contact with the Mapuche community, to gain their trust, and, eventually, convince them that the best solution is a negotiated one.

In the process he meets the sexy and ruthless attorney for the company, a girl who had been his student in a graduate class at a foreign university and with whom he maintained a fleeting affair. When the situation of social tension escalate up to a point when it starts to be dangerous for him and the community, Catalan decides to settle with the company, only to realize then that he has been only a pawn in a much bigger corporate chess game.
 

La Once (en)

Image

Selection: 

  • Cinéma en développement 7 / 2012

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • Chili

Director: 

Maite Alberdi

Production company: 

Synopsis: 

Six elderly women religiously gather for tea, once a month, for the past sixty years. In these meetings, they try to look their best, jovial, as if they had their whole lives ahead of them, trying to momentarily hide the fact that time is inevitably passing for them.
Around the table, they make an effort to have something to tell, not to go unnoticed, showing they are still up-to-date. They spend their time interpreting current affairs and fashion from what others, or the TV, have told them. Despite not understanding some trends, they comment on them with absolute authority, trying to explain them to one another. In these teatime gatherings they learn, for instance, who is Madonna, what are swingers, and what “cool,” “humping,” and “making out,” mean.
When there are discrepancies, it is the personal histories that come out and highlight the differences of opinion. Despite having a common education in a religious school, they had to live through a period of radical historical changes that provoked polarizations within the group: some had access to higher education, others opted for being homemakers; some used contraceptives, others became widows before having access to them; some separated due to their husbands’ infidelities, others decided to keep appearances; some married officers in the armed forces, others had to suffer the disappearance of relatives during the dictatorship. Therefore, despite having very different biographies and personalities, which generates constant quarrels among them, in the long run they manage to understand, complement and accompany each other.
They have suffered mild losses in sense perceptions, but each one has a different ailment, so that an individual lack is supplemented by the group-mates. For example, the one that is not listening reads to the one that does not see. Thus, they manage to put together a lifestyle system that completely ignores the illnesses they suffer. The afternoons pass and it seems that nothing in their lives changes, until the death of one of them makes them go through a period of evident transformation.
 

La palabra verdadera (en)

La palabra verdadera

Selection: 

  • Cinéma en développement 7 / 2012

Type: 

Documentaire

Format: 

Long-métrage

Country: 

  • Mexique

Director: 

Fernanda Romandía

Production company: 

Synopsis: 

Manuel Segovia (77) and his neighbor Isidro Velazquez (70) live in the town of Ayapa, deep in the tropical lowlands of southeastern Mexico. Surrounded by birds, rivers, swamps, and oil wells, their homes are at opposite ends of the main village square. They are the last known people to have Ayapaneco as their maternal tongue, and they refuse to speak to each other because of an enduring grudge between them.

The Ayapaneco language is on the verge of extinction. In spite of being neighbors, Manuel and Isidro are estranged and don’t talk to each other. No one knows how the grudge between the two men started, but the resulting silence threatens the survival of a language.

Manuel has worked his entire life on the fields as a crop farmer. He lives with his wife Concepción, confined to her bed since she suffered a domestic accident, and their two sons. One of them, also named Manuel, is constrained by his wheelchair to work at home, restoring religious images. In his spare time, the younger Manuel attempts to learn the Ayapaneco tongue. He understands some words, but lacks the necessary time to master the language.

Ever since Manuel was a young boy, the people of Ayapa grew increasingly embarrassed of their native tongue and slowly abandoned it. The few native speakers remaining have died, among them Manuel’s brother, with whom he spoke Ayapaneco as if it were their secret language.

Manuel is well aware that Ayapaneco is close to disappearing. He has tried to save his native tongue from extinction, but has encountered many obstacles. For instance, the parents of the children Manuel tries to teach ayapaneco have little interest in their sons learning the language of their people.

Isidro is known to friends and loved ones as “Chilo”. Isidro lives with his wife, children and grand children, working as a crop farmer. His family attests that many “gringos”, among other people, have come to Isidro to learn Ayapaneco. They promise him money but mostly fail to keep their word, so Isidro has grown suspicious of those interested in his native tongue.

Isidro cares very little of being one of the last remaining speakers of the Ayapaneco language. He believes it is impossible to save it from disappearing, as people are no longer interested in learning it. People are moving into the cities, away from country and leaving their customs behind.

The survival of a language and the heritage of the people of Ayapa depend on the willingness of two men to reconcile their differences and speak to each other again.
 

Panga (en)

Image

Selection: 

  • Cinéma en développement 7 / 2012

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Mexique

Director: 

Pablo Aldrete

Production company: 

Synopsis: 

Panga es la historia de un hombre BALKE (40) que en un colapso de su vida pierde parte de su memoria hasta un momento de su vida de joven donde tuvo un fuerte accidente de coche donde segun El, murio la pasajera su novia. El toma una decicion drastica de terminar su vida, se renta una lancha y se va hacia mar adentro donde se le acaba la gasoline y el se aviernta al mar quedando flotando. Tres dias despues, arrepentido de lo que hizo se le aparece una isla,. Mientras pasa tiempo en la isla comienza a darce cuenta poco a poco que lo que El pensaba que paso fue completamente erroneo, tiene flashbacks de lo que realmente sucedio, y arrepentido otra vez busca la forma de regresar, solo que esta atrapado en esta isla que al parecer esta encantada, por un spectro en forma de mujer, de su mujer, que no lo déjà irse y lo intenta convencer de que se quede con ella para toda la eternidad.
Balke intentara volver a su vida con su familia. Aunque tenga que regresar nadando.
Lamentablemente la vida para Balke ya no esta en sus manos, y aunque el no lo sabe seguira luchando hasta el final. Cualquiera que sea ese.
 

Radiestesia (en)

Image

Selection: 

  • Cinéma en développement 7 / 2012

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Chili

Director: 

Jairo Boiser

Production company: 

Synopsis: 

At 42, the widower Elías Salgado sees how his life silently goes by between work, the bar and his home in Illapel, a small town in northern Chile. Dissatisfied with life's quietness, he searches without success a way to leave behind fifteen years of working as the town hall's cashier.

Everything seems to change when his daughter Asunción (10) accidentally discovers the power to find ground water by dowsing, a pseudoscientific activity that allows to find objects using tools such as a Y-shaped rod or a pendulum. After doing a quick research on the subject and sharing with her father the secrets of her new gift, Asunción joins him on a journey, visiting several semi-arid properties lacking this vital resource.

Soon, their family economy improves slightly and Elías seems to find a way out of the state of ennui that overwhelmed him. Expectations improve to the point that he decides to quit his job, but must do so behind his mother, Rebeca (70). She is very influential on Asunción's formation and does not welcome any fall in her granddaughter's school performance.

This situation, combined with a stagnation of this business, triggers a crisis within the family group that brings out and makes visible Elías and his mother's wounds. This will provoke in Elías sudden changes in behaviour: some days being euphoric and others not even capable of getting up. Asunción becomes very concerned with her father's mental health, and ends up refusing to continue looking for ground water. This however will only provoke in him a crisis, a manic crisis.

After her First Communion, and without the presence of his father who has been admitted to a hospital, Asunción understands that only through dowsing will be able to afford her father's medical treatment. With her grandmother she engages on what could be a long journey through the northern desert.
 

Sin tetas artificiales no hay paraiso (en)

Image

Selection: 

  • Cinéma en développement 7 / 2012

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Colombie
  • Allemagne

Director: 

Simon Paetau

Synopsis: 

Armed with five mobiles, ENDRY CARDOÑA, sells phone calls in the city centre of Bogotá. In fact she is a living phone booth for the conversations of the city, from the local dealers to businessmen at lunch. ENDRY’s course of life changes when a drunken director invites her to a casting. At the audition ENDRY gets furious at the director, which ultimately lands her the role of USNAVY, the protagonist of the latest telenovela: “Without Artificial Tits there is no Paradise”. From one day to the next, ENDRY becomes a star. The whole nation watches USNAVY's story of rape and violence in the life of a transsexual prostitute from the slums of the Caribbean coast. She appears in every magazine, even the Colombian Playboy, moves into a Feng Shui chic apartment and attends parties for the social elite. One day in a first class gym, another customer complains to ENDRY for using the female dressing room. ENDRY is enraged with the customer and the owner of the gym, who in the end kicks her out. The telenovela becomes more and more sexually explicit and violent. ENDRY shows an extraordinary performance when they shoot the key scene of USNAVY’s father raping her. The next day ENDRY invites her best friends LAURITA and CLARA to a luxurious restaurant. When Music starts playing ENDRY climbs on top of the bar and starts ripping the cloths off her body in front of the conservative diners. LAURITA and CLARA manage to get her down and carry her outside. The final scene of the telenovela finds USAVY in the midst of a gunfight with the police, trying to protect her boyfriend, the local gangster, and both get shot dead in the street. At the wrap party the director offers ENDRY the lead role in the next telenovela: “Cocaine Wives”, but a transexual prostitute interrupts them begging for money. When ENDRY refuses, the transexual shouts out at her “You are one of us, bitch!”  As the guards kick her out violently. After the party, affected by the event, ENDRY walks down to the city centre of Bogotá… 

Te prometo anarquía (en)

Te prometo anarquia

Selection: 

  • Cinéma en développement 7 / 2012

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Guatemala

Director: 

Julio Hernández Cordón

Synopsis: 

Johnny and Miguel skateboard in traffic, not even caring if there is a red light or not. They criss-cross the city; both of them are less than twenty years old each, sweated and with scars, but feeling beautiful. They move as if they are the only inhabitants of Mexico City. They love each other in secret. Every night Miguel flees his house to sleep with Johnny in a warehouse used as a small apartment, and early in the morning goes back home to pretend he is sleeping in his own bedroom. They know each other since childhood; Johnny used to live at Miguel’s home when they were little, because his mother was working there as a maid. Johnny works in a Jai-Alai court, the owner of the place traffick drugs and used the place as a front. Johnny takes advantage of his boss carelessness to steal drugs from him. Miguel sells the drug where they skate. They engaged in low profile drug dealing in a very naïve way, and get very excited about what they earn. Suddenly Johnny’s boss disappears and they take advantage of this incident to steal all the drugs, without contemplating the consequences that can come up from such wrongdoing. This error causes that Miguel parents take action on the matter. He is sent to Texas and gets a job in a Modern Arts Museum. His job is to take care that nobody touches the art pieces and to stand still for hours in front of a painting by Francis Bacon. His parents promise to help his friend Johnny out of trouble, but they do not deliver on that promise, it was the ideal opportunity to distance their child from what they think is a bad infuence for him. Both get separated unvoluntarily by the circumstances only knowing that without each other life has a different meaning. Johnny does not survive the world of crime. Miguel knows that his ability is to sell and searchs for someone to do business with.
 

¡Lo que nos faltaba! (en)

Image

Selection: 

  • Cinéma en développement 7 / 2012

Type: 

Fiction

Format: 

Long-métrage

Country: 

  • Colombie

Director: 

Adriana Cepeda Espinosa

Production company: 

Synopsis: 

Inspired by true stories. Storylines develop in parallel around a rural village in Colombia; Luis, an aspiring musician who has had to return home, Leidy, a teenage guerrilla who at all costs avoids combat, and Jason, the foolhardy chief of police who plots an impossible defense against the imminent guerrilla attack while his men conspire to flee. These storylines intertwine when the attack occurs. The police take off, leaving the captain alone to defend the town. All seems lost, when something unusual happens: Luis’s music inspires the villagers to resist the attack vehemently, yet peacefully. This changes the rules of the game and sets off a chain of unprecedented events that will change their lives.