40th Guadalajara Film Festival Opens With Mexico's First Stop-Motion Animated Feature ‘I Am Frankelda' as It Launches New Genre Sidebar
The Guadalajara International Film Festival (FICG) is proudly celebrating its 40th edition with a milestone: Mexico's first-ever stop-motion animated feature, 'I Am Frankelda' ('Soy Frankelda'), which opens the festival.
Running June 6-14, the country's most prominent film festival launches a new genre section that features five pics led by Pablo Stoll's zombie dramedy 'Summer Hit' ('El tema del verano') and Emilio Portes' 'Don't Leave the Kids Alone.' This new by invitation only sidebar would be the 10th competitive section of the fest.
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'It's never been easy to put on a festival in Mexico – there are a lot of people who don't really understand the work that goes into it. But what truly matters is that, for 40 years, through changing tides, shifting governments and opposition from both inside and out, we've kept the festival alive. And what we've come to realize is that this festival deserves to last another hundred years,' said festival director Estrella Araiza.
Written and directed by the brothers Roy and Arturo Ambriz, 'I Am Frankelda' which world premiered at Annecy, follows the travails of 19th century Mexican writer Frankelda who struggles to get her dark tales recognized. When her creations come to life, she fights alongside the tormented Prince Herneval to stop sinister forces from upending reality.
Among the festival highlights is a host of features from guest country of honor, Portugal, led by Maria de Medeiros ('Pulp Fiction') who presents her 2000 directorial debut, 'April Captains.'
Iberoamerican pics in competition include Berlinale title 'Deaf' by Spain's Eva Libertad, 'The Best Mother in the World' from Brazil's Anna Muylaert and the Dominican Republic's 'Tiguere' by José María Cabral.
Spain's Oscar-nominated J. A. Bayona ('Society of the Snow') will be honored with a retrospective of his work, including an outdoor screening of his horror gem, 'The Orphanage,' at the city's emblematic Belén Pantheon.
The festival bestows its honorary Mayahuel de Plata to actress Dolores Heredia ('Pedro Paramo,' 'Vantage Point') who celebrates her nearly four decades in the biz.
'Instructions Not Included' producer Monica Lozano receives the Industry Mayahuel tribute while 'A Fantastic Woman' star Daniela Vega is recognized with the Premio Maguey Queer Award. Meanwhile, Mexican electropop artist Denisse Guerrero will be presented with a lifetime achievement award, the Premio Maguey Trayectoria.
The industry section, led by Ximena Urrutia, is chock a block with various activities including large-scale Co-production Meetings, pics-in-post pitch program Guadalajara Construye, series in development section Episodio 0, video game space FICGGames Playtest, a doculab, networking platform Talents, and of course, its market.
'This year, we're launching something new that's especially meaningful to me: the Schools' Corner. As a graduate of the Centro de Capacitación Cinematográfica (CCC) in Mexico, I know firsthand how confusing it can be to leave film school without a clear path forward or knowing how to get a project off the ground. That's why we created this space – this year, it's primarily focused on Mexico and brings together many of the country's key film schools, from major institutions like CCC to several smaller ones as well,' said Urrutia.
According to Urrutia, each participating school will bring 10 handpicked students to the festival, with over 100 already confirmed to attend.
'We're going to walk them through how each of our programs works – how to apply, what applying actually entails, and how a project needs to be structured to be seriously considered. In addition, they'll have access to our virtual market, specifically the one-on-one meeting platform, which has been working remarkably well for the past few years. Last year alone, we hosted 2,700 professional one-on-one meetings,' she pointed out.
Said Araiza: 'What matters most to us is helping people understand that we will always be a space where new filmmakers can grow. A place where emerging careers can take off, where people can discover and learn about cinema– not just for film lovers, but also for those who dream of making a life in film.'
Ibero-American Fiction Films Competition
'The Best Mother in the World,' Anna Muylaert (Brazil)
'A Procura de Martina,' Márcia Faria (Brazil, Uruguay)
'The Wild Years' ('Los años salvajes'), Andrés Nazarala (Chile)
'Cuerpo celeste,' Nayra Ilic García (Chile, Italy)
'This Island' ('Esta isla'), Lorraine Jones Molina, Cristian Carretero (Puerto Rico)
'Molt Lluny,' Gerard Oms (Spain, Netherlands)
'Bitter Gold' ('Oro amargo'), Juan Olea (Chile, Mexico, Uruguay, Germany)
'The Blue Trail' ('O último azul'), Gabriel Mascaro (Brazil, Mexico, Netherlands, Chile)
'The Cottage' ('La Quinta'), Silvina Schnicer (Argentina, Brazil, Chile, Spain)
'Dreaming of Lions' ('Sonhar com Leões'), Paolo Marinou-Blanco (Portugal, Brazil, Spain)
'Deaf' ('Sorda'), Eva Libertad (Spain)
'Tiger' ('Tiguere'), José Maria Cabral (Dominican Republic)
Ibero-American Documentaries in Competition
'Savanna and the Mountain' ('A Savana e a Montanham'), Paulo Carneiro (Portugal, Uruguay)
'The Twilight of the Crickets' ('El atardecer de los grillos'), Gonzalo Almeida (Argentina)
'Cais,' Safira Moreira (Brazil)
'Copan,' Carine Wallauer (Brazil, France)
'Croma,' Manuel Abramovich (Argentina, Germany, Austria)
'The Flamenco Guitar of Yerai Cortés,' Antón Álvarez (Spain)
'Light Memories' ('Eco de luz'), Misha Vallejo Prut (Ecuador, Germany)
'Black Gold' ('Ouro negro'), Takashi Sugimoto (Portugal)
'Paradise' ('Paraíso'), Ana Riper (Brazil)
'Runa Simi,' Augusto Zegarra Pineda-Arce (Peru)
'Afternoons of Solitude' ('Tardes de soledad'), Albert Serra (Spain, France, Portugal)
Premio Mezcal, Mexican Films in Competition
Fiction
'Rock, Weed and Wheels' ('Autos, mota y rocanrol') José Manuel Cravioto (Mexico)
'Café Chairel,' Fernando Barreda Luna (Mexico)
'Crocodiles' ('Cocodrilos'), J. Xavier Velasco (Mexico, U.S.)
'Twelve Moons' ('Doce lunas'), Victoria Franco (Mexico)
'Newborn' ('Un mundo para mí'), Alejandro Zuno (Mexico)
Documentaries
'At the End of the World,' Abraham Escobedo-Salas (Mexico, Belgium)
'Boca Vieja,' Yovegami Ascona Mora (Mexico)
'Isleño,' César Talamantes (Mexico)
'I Watched the Drops Fall, Illuminated by the Lightning, and With Every Breath I Took, I Sighed, and Every Time I Thought, I Thought of You' ('Miraba caer las gotas iluminadas por los relámpagos, y cada que respiraba suspiraba, y cada vez que pensaba, pensaba en ti'), Pepe Gutiérrez, Carlos San Juan (Mexico)
'To be Named Olympia' ('Llamarse Olimpia'), Indira Cato (Mexico)
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40th Guadalajara Film Festival Opens With Mexico's First Stop-Motion Animated Feature ‘I Am Frankelda' as It Launches New Genre Sidebar
The Guadalajara International Film Festival (FICG) is proudly celebrating its 40th edition with a milestone: Mexico's first-ever stop-motion animated feature, 'I Am Frankelda' ('Soy Frankelda'), which opens the festival. Running June 6-14, the country's most prominent film festival launches a new genre section that features five pics led by Pablo Stoll's zombie dramedy 'Summer Hit' ('El tema del verano') and Emilio Portes' 'Don't Leave the Kids Alone.' This new by invitation only sidebar would be the 10th competitive section of the fest. More from Variety Taiwan Makes Its Mark at Annecy With VR Innovation and Diverse Animation Slate Disney to Preview 'Zootopia 2,' 'Elio,' 'Toy Story 5' and More at This Year's Annecy Festival 'Cat in the Hat' Adaptation, 'Tom Clancy's Splinter Cell: Deathwatch' Series and Sébastien Laudenbach's 'Carmen' Headline Annecy's Work in Progress Lineup 'It's never been easy to put on a festival in Mexico – there are a lot of people who don't really understand the work that goes into it. But what truly matters is that, for 40 years, through changing tides, shifting governments and opposition from both inside and out, we've kept the festival alive. And what we've come to realize is that this festival deserves to last another hundred years,' said festival director Estrella Araiza. Written and directed by the brothers Roy and Arturo Ambriz, 'I Am Frankelda' which world premiered at Annecy, follows the travails of 19th century Mexican writer Frankelda who struggles to get her dark tales recognized. When her creations come to life, she fights alongside the tormented Prince Herneval to stop sinister forces from upending reality. Among the festival highlights is a host of features from guest country of honor, Portugal, led by Maria de Medeiros ('Pulp Fiction') who presents her 2000 directorial debut, 'April Captains.' Iberoamerican pics in competition include Berlinale title 'Deaf' by Spain's Eva Libertad, 'The Best Mother in the World' from Brazil's Anna Muylaert and the Dominican Republic's 'Tiguere' by José María Cabral. Spain's Oscar-nominated J. A. Bayona ('Society of the Snow') will be honored with a retrospective of his work, including an outdoor screening of his horror gem, 'The Orphanage,' at the city's emblematic Belén Pantheon. The festival bestows its honorary Mayahuel de Plata to actress Dolores Heredia ('Pedro Paramo,' 'Vantage Point') who celebrates her nearly four decades in the biz. 'Instructions Not Included' producer Monica Lozano receives the Industry Mayahuel tribute while 'A Fantastic Woman' star Daniela Vega is recognized with the Premio Maguey Queer Award. Meanwhile, Mexican electropop artist Denisse Guerrero will be presented with a lifetime achievement award, the Premio Maguey Trayectoria. The industry section, led by Ximena Urrutia, is chock a block with various activities including large-scale Co-production Meetings, pics-in-post pitch program Guadalajara Construye, series in development section Episodio 0, video game space FICGGames Playtest, a doculab, networking platform Talents, and of course, its market. 'This year, we're launching something new that's especially meaningful to me: the Schools' Corner. As a graduate of the Centro de Capacitación Cinematográfica (CCC) in Mexico, I know firsthand how confusing it can be to leave film school without a clear path forward or knowing how to get a project off the ground. That's why we created this space – this year, it's primarily focused on Mexico and brings together many of the country's key film schools, from major institutions like CCC to several smaller ones as well,' said Urrutia. According to Urrutia, each participating school will bring 10 handpicked students to the festival, with over 100 already confirmed to attend. 'We're going to walk them through how each of our programs works – how to apply, what applying actually entails, and how a project needs to be structured to be seriously considered. In addition, they'll have access to our virtual market, specifically the one-on-one meeting platform, which has been working remarkably well for the past few years. Last year alone, we hosted 2,700 professional one-on-one meetings,' she pointed out. Said Araiza: 'What matters most to us is helping people understand that we will always be a space where new filmmakers can grow. A place where emerging careers can take off, where people can discover and learn about cinema– not just for film lovers, but also for those who dream of making a life in film.' Ibero-American Fiction Films Competition 'The Best Mother in the World,' Anna Muylaert (Brazil) 'A Procura de Martina,' Márcia Faria (Brazil, Uruguay) 'The Wild Years' ('Los años salvajes'), Andrés Nazarala (Chile) 'Cuerpo celeste,' Nayra Ilic García (Chile, Italy) 'This Island' ('Esta isla'), Lorraine Jones Molina, Cristian Carretero (Puerto Rico) 'Molt Lluny,' Gerard Oms (Spain, Netherlands) 'Bitter Gold' ('Oro amargo'), Juan Olea (Chile, Mexico, Uruguay, Germany) 'The Blue Trail' ('O último azul'), Gabriel Mascaro (Brazil, Mexico, Netherlands, Chile) 'The Cottage' ('La Quinta'), Silvina Schnicer (Argentina, Brazil, Chile, Spain) 'Dreaming of Lions' ('Sonhar com Leões'), Paolo Marinou-Blanco (Portugal, Brazil, Spain) 'Deaf' ('Sorda'), Eva Libertad (Spain) 'Tiger' ('Tiguere'), José Maria Cabral (Dominican Republic) Ibero-American Documentaries in Competition 'Savanna and the Mountain' ('A Savana e a Montanham'), Paulo Carneiro (Portugal, Uruguay) 'The Twilight of the Crickets' ('El atardecer de los grillos'), Gonzalo Almeida (Argentina) 'Cais,' Safira Moreira (Brazil) 'Copan,' Carine Wallauer (Brazil, France) 'Croma,' Manuel Abramovich (Argentina, Germany, Austria) 'The Flamenco Guitar of Yerai Cortés,' Antón Álvarez (Spain) 'Light Memories' ('Eco de luz'), Misha Vallejo Prut (Ecuador, Germany) 'Black Gold' ('Ouro negro'), Takashi Sugimoto (Portugal) 'Paradise' ('Paraíso'), Ana Riper (Brazil) 'Runa Simi,' Augusto Zegarra Pineda-Arce (Peru) 'Afternoons of Solitude' ('Tardes de soledad'), Albert Serra (Spain, France, Portugal) Premio Mezcal, Mexican Films in Competition Fiction 'Rock, Weed and Wheels' ('Autos, mota y rocanrol') José Manuel Cravioto (Mexico) 'Café Chairel,' Fernando Barreda Luna (Mexico) 'Crocodiles' ('Cocodrilos'), J. Xavier Velasco (Mexico, U.S.) 'Twelve Moons' ('Doce lunas'), Victoria Franco (Mexico) 'Newborn' ('Un mundo para mí'), Alejandro Zuno (Mexico) Documentaries 'At the End of the World,' Abraham Escobedo-Salas (Mexico, Belgium) 'Boca Vieja,' Yovegami Ascona Mora (Mexico) 'Isleño,' César Talamantes (Mexico) 'I Watched the Drops Fall, Illuminated by the Lightning, and With Every Breath I Took, I Sighed, and Every Time I Thought, I Thought of You' ('Miraba caer las gotas iluminadas por los relámpagos, y cada que respiraba suspiraba, y cada vez que pensaba, pensaba en ti'), Pepe Gutiérrez, Carlos San Juan (Mexico) 'To be Named Olympia' ('Llamarse Olimpia'), Indira Cato (Mexico) Best of Variety New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Animated Program — Can Netflix Score Big With 'Arcane,' 'Devil May Cry' and the Final Season of 'Big Mouth?' What's Coming to Netflix in June 2025
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Leading Mexican Post-Production Houses Chemistry and Semillero Join Forces in Guadalajara (EXCLUSIVE)
Leading Mexico City post-production house Chemistry has joined forces with Guadalajara-based Semillero Estudios, in a bid to tap the state of Jalisco's 40% cash rebate incentive and diversity of locations. 'Jalisco is experiencing an important moment for national cinema, and we couldn't stay on the sidelines,' said Chemistry head Andrés Martínez-Ríos, adding: 'With the recent state incentives for film production, opening a studio here became an attractive and exciting opportunity.' More from Variety 'Pulp Fiction's' Maria de Madeiros Receives Tribute at Guadalajara's Portugal Country of Honor Celebrations Guadalajara Film Festival's LGBTQ+ Themed Premio Maguey Touts Series, Animated Feature for the First Time 40th Guadalajara Film Festival Opens With Mexico's First Stop-Motion Animated Feature 'I Am Frankelda' as It Launches New Genre Sidebar Martínez-Ríos and Semillero Studio's Álvaro Arce broke the news as the 40th Guadalajara International Film Festival (FICG) opened on June 6. 'Chemistry has had a strong presence in the film industry of Guadalajara for a long time. We've been part of the festival for over 15 years, supporting various local productions through [FICG's pix-in-post program] Guadalajara Construye, such as 'Martínez,' and nationally significant projects like 'Chivas, la película.' 'The idea had been simmering, but we needed a creative and local partner. That's where Semillero came in – a leading sound design and music recording studio in the state. We had the great experience of collaborating on several projects, including the ones mentioned above. The partnership was very organic, and within months we finalized the alliance to now offer a real and high-quality post-production service for image and sound to production companies and platforms looking to produce in Jalisco,' Martínez-Ríos told Variety. Jalisco is the only state in Mexico that offers this generous incentive. It's available to producers who have been established in the state for at least three years or to those who co-produce with a Jalisco-based producer. Other audiovisual companies are said to be looking to open offices in Jalisco as a result. Some high-profile projects filming in the state include Apple TV+'s 'Acapulco' which shoots in Puerto Vallarta and Netflix's 'The Manny.' FICG opening film 'I Am Frankelda' was also produced in the state in collaboration with the Guadalajara City-based Polar Studio. On the national level, Mexico offers a 16% VAT rebate for international productions. Founded in 2013 by Arce, a music producer, sound designer and composer, Semillero specializes in music composition and production, sound design and immersive mixing for film, television, OTTs and any audiovisual format. Among its many credits are the International Emmy-winning 'Sr. Ávila' for HBO Latin America, Lorenzo Hagerman's lauded documentary 'Flamingos' and Pablo Olmos' multi-prized horror pic, 'Rendez-Vous.' Boasting 15 years in the biz, Chemistry offers state-of-the-art tools and workflows designed to bring stories to life—from dailies to final deliveries, including color grading. Said Martínez-Ríos: 'We're very excited to begin this new adventure. Our partnership with Semillero strengthens us even more and allows us to provide better services to the local industry, as well as to national and international productions.' FICG runs over June 6-14. Best of Variety New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Animated Program — Can Netflix Score Big With 'Arcane,' 'Devil May Cry' and the Final Season of 'Big Mouth?' What's Coming to Netflix in June 2025
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Guadalajara Highlights Hits, Notable Debuts Among Recent Spanish, Portuguese-Language Movies, Plus a Film About a ‘Hell of Naked Depravity'
José María Cravioto's 'Cars, Pot & Rock 'N' Roll: The Legend of the Mexican Woodstock' and Victoria Franco's 'Twelve Moons' feature in the Mezcal Mexican competition at this year's Guadalajara Film Festival. Its other main competition, focusing on Ibero-American fiction movies and doc features, takes in two of the biggest hits this year from Spain, Portugal and Latin America: Brazilian Gabriel Mascaró's 'The Blue Trail' and Spaniard Eva Libertad's 'Deaf,' both big hits at Berlin. More from Variety Leading Mexican Post-Production Houses Chemistry and Semillero Join Forces in Guadalajara (EXCLUSIVE) 'Pulp Fiction's' Maria de Madeiros Receives Tribute at Guadalajara's Portugal Country of Honor Celebrations 40th Guadalajara Film Festival Opens With Mexico's First Stop-Motion Animated Feature 'I Am Frankelda' as It Launches New Genre Sidebar As importantly, the Ibero-American Competition also highlights tales which deserve far more attention: a highly thoughtful first feature from Gerard Oms, 'Away' ('Molt Lluny'), with a career-high turn by star Mario Casas; 'Martina's Search,' led by the frequently magnificent Argentinian player Mercedes Morán, and Puerto Rico's 'This Island,' part of a new Caribbean cinema which is ever more frequently scoring top fest berths. Taken together, Guadalajara's biggest two festival strands say a lot about where what was formerly called arthouse cinema is heading in the region. One direction is most certainly co-production. Nine of the 12 titles in the Ibero-American fiction feature competition yoke partners from at least two countries. Three – 'Bitter Gold,' 'The Blue Trail,' 'The Cottage' – feature four, Chile, an inveterate co-producer, partnering on all of them. Brazil is back to the table, with five titles, as Chile; Argentina has just two. Debuts – first solo narrative features – abound: Over half of the Ibero-American contenders are first or second features. Increasingly, however, the debutants are highly respected mid-career directors, led by Mexico's Alejandro Zuno and Brazil's Marcia Fária, who have carved out a name directing hit series. The streaming revolution is also caught in a building phenomenon: the number of titles which say a lot about the world but also prime entertainment or genre, whether the insistent comedy of 'Cars, Pot & Rock 'N' Roll,' a film which nails the past and present contradictions of Mexico, the horror undertones of 'The Cottage' or the thriller propulsion of 'Bitter Gold,' part of a growing crossover Chilean film scene. 'Since we founded Juntos, we have considered ourselves as a production company that seeks to reconcile the artistic gaze with the search for increasingly wider audiences,' Daniela Raviola, at 'Bitter Gold's' lead producer Juntos, has told Variety. In an age where streamers, global or regional, are one mainstay of cinema, it's an increasing newer generation calling. A breakdown of titles in Guadalajara's Mezcal and Ibero-America Fiction Features competitions: Mezcal Prize Titles, Focusing on Mexican Fiction Films, Doc-Features 'Cars, Pot & Rock 'N' Roll: The Legend of the Mexican Woodstock,' ('Autos, Mota y Rocanrol,' (José María Cravioto) The latest from top-flight maverick Cravioto, a 'Diablero' showrunner and director on 'El Chapo' and now Alex Pina's 'Billionaires' Bunker.' Here he delivers an often comedic mockumentary seeking to decipher what he calls one of the most critical episodes of Mexican counter-culture: the Festival de Avándaro. Meant to be a car race, it ballooned into Mexico's Woodstock, lambasted by one voice in Mexico's conservative establishment as 'a hell of naked depravity, blood, potheads and death.' Mexico's government cracked down on rock 'n' roll, which took a decade to recover. 'Café Chairel,' (Fernando Barreda Luna) Starring 'After Lucía's' Tessa la, a second chance romantic drama, set in the picturesque port of Tampico, as Alfonso (Maurice Isaac) and Katia (la), both suffering deep loss, launch a café and haltingly, awaken to life. The second feature as a director of Barreda Luna, produced by his label Nopal Army Films ('Crocodiles'). 'Crocodiles,' ('Cocodrilos,' J. Xavier Velasco) World premiered at April's Chicago Latino Film Festival, a tragically real-event-based thriller, inspired by the murder of at least 141 journalists and other media workers in Mexico this century. Young Veracruz shutterbug Santiago takes on his boss' final investigation after her assassination by organized crime. Velasco's feature debut and also a Nopal Army Films production. 'Twelve Moons,' ('Doce Lunas,' Victoria Franco) A Tribeca International Narrative Competition entry, led by Ana de la Reguera ('Ana,' 'Nacho Libre' ), recent star of Ariel Winograd's Mexican B.O, breakout 'Una Pequeña Confusion,' here playing Sofía, 40, an architect in emotional freefall after a loss, battling infertility and ever spiralling addiction. From Victoria Franco, director with brother Michel Franco on 2013's 'Through the Eyes.' 'Twelve Moons' is produced by Michel Franco, sold by The Match Factory. 'Newborn,' ('Un Mundo Para Mi,' Alejandro Zuno) A couple is told its soon-to-be-born baby's sex cannot be determined. The father wants a sex to be assigned, the mother begins to investigate intersexuality. The latest from Zuno, a director on Series Mania International Panorama best director winner 'Tengo Que Morir Todas las Noches' and on 'The Secret of the River,' the No. 1 Netflix show in Mexico for five weeks last Fall. Seen in Mar del Plata's Latin American Competition last year. Documentaries 'At the End of the World,' (Abraham Escobedo Salas, Mexico, Belgium) After 2022's 'Breaking la Vida,' the second feature-length doc from Escobedo Salas tracking Cecilio, a Lisbon squatter, as he battle with drug addiction, finding some dignity and solidarity on the way. Based on a 2021 short which scored a Mexican Academy Ariel Award nomination. 'Boca Vieja,' (Yovegami Ascona Mora) Selected for Berlin's 2024 European Film Market Equity & Inclusion program, shot in a coastal hamlet in Oaxaca, flooded in the rainy season, its inhabitants fearing they will lose their land forever. Directed by Ascona Mora, winner of Hazlo en Cortometraje with doc short 'Mëët Naax' (Con la Tierra). 'Isleño,' (Cesar Talamantes) The return of Talamantes who directed his admired first doc feature 'Los Otros Californianos' back in 2012, about Baja California Sur rancho dwellers. Here he ventures even further afield recording the daily life of inhabitants on remote Baja islands, its challenges and the glorious beauty of the Pacific Ocean. 'I Watched the Drops Fall, Illuminated by the Lightning, and With Every Breath I Took, I Sighed, and Every Time I Thought, I Thought of You,' ('Miraba caer las gotas iluminadas por los relámpagos, y cada que respiraba suspiraba, y cada vez que pensaba, pensaba en ti,' Pepe Gutiérrez, Carlos San Juan) A doc-feature on the origins and development of colonialism, exploring the Manila-Acapulco Spanish trade route opened in 1565 and used until 1815, exchanging New World silver for Chinese and Asian luxury goods. 'To be Named Olympia,' ('Llamarse Olimpia,' Indira Cato) A portrait of Olimpia Coral Melo, victim of viral digital sexual assault, who fought for 13 years for the practice to be criminalized in Mexico, now established by the Olimpia Law, adopted in many Mexican states. Directed by Cato, co-writer of 2014's 'All of Me' ('Llévate mis amores'), a breakout hit. Ibero-American Fiction Feature Section 'Away, ('Molt Lluny,' Gerard Oms, Spain, Netherlands) The acclaimed feature debut of Oms, turning on the journey of self-discovery of a Spaniard, Sergio, living penniless in he Netherlands' Utrecht. Sergio is played by Mario Casas in what many critics hail as one of the finest performances of his career which won him best actor at March's Málaga. 'The Best Mother in the World,' (Anna Muylaert, Brazil, Argentina) A Sundance, Berlin winner sold worldwide by The Match Factory, Muylaert's 'The Second Mother' nailed the class gulf in Brazil. A Berlinale Special, Muylaert's latest focuses on one woman's determined reaction to domestic abuse Muylaert's hallmark mix of social point and sentiment, as Variety notes. Biônica Filmes, Argentina's Telefilms, and Galeria Distribuidora produce. 'Bitter Gold,' ('Oro amargo,' Juan Olea, Chile, Mexico, Uruguay, Germany) Shot in Northern Chile by Sergio Armstrong ('Neruda'), an adolescent (Katalina Sanchez) takes over her father's mine, treads a tense path to empowerment. Lead produced by Chile's Juntos Films ('Immersion') in a powerful five-way production, and Olea's second feature after 2014's 'El Cordero.' 'The Blue Trail,' ('O último azul,' Gabriel Mascaró, Brazil, Mexico, Netherlands, Chile) The latest from the first Brazilian filmmaker to really hit the international radar one generation on from its 'big four' of Salles, Meirelles, Aïnouz and Kleber Mendonça, thanks to a Berlin Special Jury Prize for 'The Blue Trail' just weeks before Salles' Oscar. Sensual, packing some extraordinary visuals, a protest film anticipating state-run segregation of the old. 'The Cottage,' ('La Quinta,' Silvina Schnicer, Argentina, Brazil, Chile, Spain) A horror-tinged family thriller which marks Schnicer's first solo outing after co-directing Guadalajara best picture and San Sebastian New Directors Award-winner 'Carajita.' 'This story explores the duality of human nature from an unconventional perspective: kids,' have said its sales agents, Luis Collar and Yeniffer Fasciani at Feel Sales. 'Cuerpo celeste,' (Nayra Ilic García, Chile, Italy) Produced by Chile's Oro Films ('To Kill the Beast') and Italy's Dispàrte, which caught attention with Maura Delpero's 'Maternal,' here joining Hormágica. Ilic's second feature after 'Square Meter,' it turns on a 16-year-old girl cut adrift after the death of her father who clings to hope for a new beginning with her mother. 'Deaf,' ('Sorda,' Eva Libertad, Spain) One of this year's Berlin – and most probably Guadalajara's – standouts, a Berlinale Panorama Audience Award winner which has sold fulsomely for Latido Films to Australia (Madman), Japan (New Select), France Condor Distribution. Germany (Piffl Medien), Italy (Lucky Red) and the U.K. (Curzon). Libertad's first feature turns on a pregnant deaf woman's fears about motherhood. 'Dreaming of Lions,' ('Sonhar com Leões,' Paolo Marinou-Blanco, Portugal, Brazil, Spain) Word premiering at Tallinn's Black Nights Film Festival where it opened its 2024 Critics' Pick Competition, a black tragicomedy on euthanasia from Greek-Portuguese writer-director Marinou-Blanco ('Empty Hands,' 'Goodnight Irene'). Brazil's Denise Fraga ('The Other End') plays Gilda, terminally ill, who discovers a corporation who could help her die with dignity. 'Martina's Search,' ('A Procura de Martina,' Márcia Fária, Brazil, Argentina) A screenplay by Gabriela Amaral ('Friendly Beast') with Fária, a Palme d'Or nominee for short 'Estaçao'; a Mar del Plata 2024 best Latin America film win; and Mercedes Morán, playing Martina. 67, suffering Alzheimer's, who learns her grandson, born in captivity under Argentina's Junta, could be in Brazil. Her search becomes a multi-edged battle against time, forgetting and oblivion. 'This Island,' ('Esta isla,' Lorraine Jones Molina, Cristián Carretero, Puerto Rico) Set for world premiere in the U.S. Narrative Competition of the Tribeca Film Festival, and picked up in April by Habanero Film Sales, the directors' feature debut described as a deeply personal and poignant portrait of the Puerto Rican experience. 'Tiger,' ('Tiguere,' José Maria Cabral, Dominican Republic) The latest from one of the Dominican Republic's most famed auteurs, Cabral, whose 'Woodpeckers' played Sundance. Here he depicts the country's prevalent machismo via a boot camp where the protagonist's father teaches young Dominicans to behave like right royal bastards, the establishment's male M.O. 'The Wild Years,' ('Los años salvajes,' Andrés Nazarala, Chile) The second feature from writer-director Nazarela ('Debut'). Ricky Palace, the forgotten black sheep of Chile's '60s New Wave in now trouble decades later when the bar where he plays in Valparaíso is closed. Produced by Chile's Oro Films, a supporter of up-and-coming talent from Chile or beyond. Best of Variety 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Animated Program — Can Netflix Score Big With 'Arcane,' 'Devil May Cry' and the Final Season of 'Big Mouth?'
