The 2023 Guadalajara Construye festival, now in its 19th edition, is deeply influenced by the current cultural climate and serves as a pivotal platform within the Mexican film industry. This year, the festival showcases a compelling showcase of cinematic works through its pics-in-post segment, which stands out as one of its main attractions, reflecting both innovation and the evolving narratives in Latin American cinema.
Among the featured films, “Here Be Dragons,” directed by Sundance-selected filmmaker Iria Gómez Concheiro known for her work in “The Cinema Hold Up,” is set against the backdrop of a military coup. This narrative deeply engages with the notion of living within a “culture of fear,” a concept underscored by the director herself. Additionally, “Genesis” unfolds in the final days of Earth, while “The Swimmers” captures the intense heat of the hottest summer in Buenos Aires, depicting a significant mass exodus. “Girls Ground” illustrates the struggles of a coastal town suffering from industrial pollution.
Several films portray characters facing the emotional turmoil of contemplating abandonment, such as in “8 Ways to Die” and “That Shadow Fading.” A recurring theme across these narratives is a profound sense of disillusionment, promising a unique regional perspective that filmmakers are eager to deliver. These narratives provide an intimate look into the human experience, particularly in a context where personal relationships are tested by external pressures and societal upheaval.
Producer Juan Sarquis describes “Genesis” as a groundbreaking Latin American approach to the science fiction genre, aiming to reclaim the future narrative from colonial influences while reshaping our collective aspirations. It offers insights into the essence of humanity amidst impending collapse. Meanwhile, “Here Be Dragons” is characterized as a “dystopian thriller” told through a distinctly Latin American lens. Notably, six out of the seven projects in the Works in Progress category are helmed by talented female filmmakers, marking a significant shift in a region where women are increasingly seizing the opportunity to create impactful films.
The titles featured in this year’s Guadalajara Works in Progress competition are scheduled to run from June 11th through September, providing ample opportunity for audiences and industry professionals to engage with these emerging narratives.
“Genesis,” (“Genésis,” Magaly Ugarte de Pablo, Mexico)
In the twilight of humanity’s existence, the protagonist, Alma, must navigate a complex relationship with an assigned partner to gain access to what remains of humanity’s last refuge. What begins as a pragmatic arrangement unexpectedly blossoms into an intense romantic attraction. However, the subsequent rejection threatens to unravel their connection and their hopes for survival. As they face unimaginable choices, their reality begins to fracture. “Genesis” illuminates the essence of being human in a world teetering on the brink of collapse,” shares Ugarte de Pablo. This project is the latest from Filmaciones de la Ciudad, a company founded by Juan Sarquis, who also serves as the executive producer and development manager at El Estudio.
“Girls Ground,” (“Tierras Niñas,” Zara Monardes, Chile)
Luz, the central character, spends her final summer of childhood in Ventanas, a coastal city in Chile heavily impacted by industrialization. Accompanied by her half-sister and a pet rabbit, Luz embarks on a journey of self-discovery. The screenplay, crafted by Monardes alongside producer Catalina Aguilar, has garnered recognition at Ventana Sur, winning three industry awards last December. This film delves into the intricate process of forming personal identity while addressing the challenges women face as they navigate a world that often constrains their growth. The film is supported by the Cine UDD educational institution, which has previously produced 16 noteworthy graduation films, including “La Madre del Cordero” and “Sariri.”
“Here Be Dragons,” (“Aquí Hay Dragones,” Iria Gómez Concheiro, Mexico, Chile)
As the standout feature of this year’s Guadalajara Construye, this film marks the third feature from Gómez Concheiro, following her acclaimed Sundance project “The Cinema Hold Up” and the award-winning “Before Oblivion” from Guanajuato. Set against the backdrop of a military coup, 18-year-old Candelaria embarks on a desperate quest to find her missing brother while unraveling the truth about the so-called “barbarians” and her own father. Produced by Gómez Concheiro’s production company Ciudad Cinema and Machete Producciones, known for titles like “Leap Year,” “La Jaula de Pro,” and “Huesera,” Machete’s Edher Campos expresses pride in the project’s unique contribution to both Mexican and Latin American cinema.
“The Monster,” (“O Monstro,” Helena Guerra, Brazil)
The story centers around a film editor who spirals into obsession and frustration upon realizing that her ex-girlfriend has appropriated her film concept. This descent into chaos leads her to become what she has always feared: a pathetic monster. The film is characterized by powerful performances from Estrela Straus and Victoria Rossetti, who portray the same character at two critical stages in life: one as a passionate young woman in her 20s and the other as a disillusioned individual in her 40s, haunted by unshakeable memories. As a finalist for the Havana Fest Coral Prize, this marks the debut feature from São Paulo’s Irmãos Guerra Filmes.
“The Swimmers,” (“Los Nadadores,” Sol Iglesias SK, Argentina)
Created by the Buenos Aires-based guerrilla indie film collective Los Nadadores Cine, this debut feature is brought to life by four of its members, including writer-director Iglesias SK and producer Valentina D’Emilio, alongside directors Joaquín Fretes and Tobías Reizes. The narrative follows four friends as they endure the hottest summer on record in Buenos Aires, navigating power outages and a significant exodus of people seeking better opportunities abroad. The film breaks into the lavish mansions of the wealthy who have fled, creating a stark juxtaposition. “This is a film crafted by a new generation of Argentine filmmakers who audaciously blend a variety of narrative elements to construct a mesmerizing and nihilistic story about the world’s future,” notes D’Emilio.
“That Shadow Fading,” (“Aquella Sombra Desvanecía,” Samuel Urbina, Peru)
Sol, a funeral keyboardist, has found solace in the predictability of her work for many years. However, with her son Junior nearing the end of his schooling and preparing to leave home, both mother and son grapple with the urgency of connecting before this impending separation. Set in an arid, desert-like city, the film explores intimate themes of home, the pain of detachment, and the possibility of finding wholeness through loss. “Our narrative is subtle yet profound, focusing on domestic intimacy and the emotional wounds that come with separation,” explains Urbina alongside producer Walter Manrique.
“8 Ways to Die,” (“8 Maneras de Morir,” Mar Novo, Mexico)
After a difficult breakup, Lex, a thirty-something woman, finds herself unemployed and out of sorts, seeking comfort in her only emotional anchor: her grandmother. Their relationship oscillates between moments of tenderness and dark humor, showcasing the complexities of familial bonds. This film marks the latest from Mar Novo, who previously participated in the writers’ room for the Amazon Original series “Mentiras.” Her debut feature, “Sisters,” also premieres this year.
