Two prominent films that are making waves at this year’s Guadalajara Film Festival are José María Cravioto’s “Vehicles, Pot & Rock ’N’ Roll: The Legend of the Mexican Woodstock” and Victoria Franco’s “Twelve Moons”, both of which are competing in the Mezcal Mexican competition. This festival is renowned for showcasing the best in Mexican cinema, and these films represent the vibrant storytelling that characterizes the current landscape of Mexican film.

In addition to these notable entries, the festival’s Ibero-American competition features a selection of outstanding fiction films and documentaries that have gained recognition across Spain, Portugal, and Latin America. Among the highlights are the critically acclaimed “The Blue Path” by Brazilian director Gabriel Mascaró and “Deaf” by Spanish filmmaker Eva Libertad, both of which have garnered significant accolades at the Berlin International Film Festival.

Moreover, the Ibero-American Competition shines a spotlight on captivating narratives that often go unnoticed. These include a profound debut feature by Gerard Oms, titled “Away” (“Molt Lluny”), which features a career-defining performance by Mario Casas. Other noteworthy films include “Martina’s Search”, led by the exceptional Mercedes Morán from Argentina, and “This Island”, a representation of a new wave of Caribbean cinema that is progressively making its mark at major film festivals.

Overall, the two major strands of competition at the Guadalajara Film Festival provide significant insights into the evolving landscape of arthouse cinema in the region. They reflect a shift in narratives and production styles that resonate with contemporary audiences while honoring traditional storytelling methods.

One clear trend emerging from this year’s festival is the increasing importance of co-production. Out of the 12 titles featured in the Ibero-American fiction competition, nine are collaborations involving partners from at least two countries. Particularly noteworthy are three films—“Bitter Gold”, “The Blue Path”, and “The Cottage”—that showcase partnerships with four nations, with Chile being a consistent co-producer across these projects.

Brazil has made a significant return to the collaborative film space with five titles, while Argentina contributes just two. This dynamic reflects changing trends in the film industry where collaboration across borders fosters richer storytelling and broader distribution opportunities.

Debuts in filmmaking are flourishing as well, with over half of the contenders in the Ibero-American category being first or second features. Notably, many of these new filmmakers are established mid-career directors, such as Mexico’s Alejandro Zuno and Brazil’s Marcia Fária, both of whom have built solid reputations directing hit television series.

The ongoing streaming revolution is also influencing the narratives presented at the festival, with a noticeable increase in films that not only address pressing social issues but also provide entertainment across genres. Whether through the comedic lens of “Vehicles, Pot & Rock ’N’ Roll”, which humorously tackles the contradictions of contemporary Mexican society, the horror elements of “The Cottage”, or the gripping mystery of “Bitter Gold”, these films represent a growing trend in Chilean cinema that crosses traditional genre boundaries.

“Since our inception, Juntos has positioned itself as a production company focused on harmonizing creative vision with the pursuit of reaching increasingly broader audiences,” stated Daniela Raviola, the lead producer of “Bitter Gold”, in an interview with Variety. This statement reflects the company’s commitment to producing content that resonates with both local and international viewers.

In an era where streaming platforms, whether global or regional, play a crucial role in the cinematic landscape, it is evident that a new generation of filmmakers is emerging, eager to tell stories that connect with diverse audiences.

A detailed examination of the films competing in Guadalajara’s Mezcal and Ibero-American Fiction Features competitions reveals a rich tapestry of stories and styles:

Highlighted Films in the Mezcal Prize – Focus on Mexican Fiction and Documentaries

“Vehicles, Pot & Rock ’N’ Roll: The Legend of the Mexican Woodstock,” (“Autos, Mota y Rocanrol,” directed by José María Cravioto)

Cravioto, a creative force known for his work on popular series like “Diablero” and “El Chapo”, returns with a comedic mockumentary that seeks to unravel one of the most pivotal moments in Mexican counter-culture: the Avándaro Festival. Originally intended as a car race, it transformed into Mexico’s version of Woodstock, facing backlash from conservative elements in the country who labeled it as “a hell of naked depravity, blood, potheads, and death.” This event led to a governmental crackdown on rock music, which took a decade for the country to recover from.

“Café Chairel,” (directed by Fernando Barreda Luna)

Starring Tessa la from “After Lucía”, this romantic drama unfolds in the scenic port city of Tampico. It tells the story of Alfonso (played by Maurice Isaac) and Katia (played by la), both grappling with profound loss as they embark on a journey to open a café, ultimately rediscovering the joys of life. This film marks Barreda Luna’s second directorial feature, produced under his banner Nopal Army Films, known for titles like “Crocodiles”.

“Crocodiles,” (“Cocodrilos,” directed by J. Xavier Velasco)

World premiered at the Chicago Latino Film Festival in April, this thrilling drama is inspired by the real-life murders of over 141 journalists and media workers in Mexico in recent years. It follows young photographer Santiago as he takes on his boss’s final investigation following her assassination by organized crime. This marks both Velasco’s feature debut and a production by Nopal Army Films.

“Twelve Moons,” (“Doce Lunas,” directed by Victoria Franco)

A contender in the Tribeca International Narrative Competition, this film features Ana de la Reguera (“Ana,” “Nacho Libre”) playing the lead role of Sofía, a 40-year-old architect facing emotional turmoil after a deep loss. Struggling with infertility and a spiraling addiction, this film brings forth a poignant narrative. Franco, who previously collaborated with her brother Michel Franco on 2013’s “Through the Eyes,” produces this project alongside The Match Factory.

“Newborn,” (“Un Mundo Para Mi,” directed by Alejandro Zuno)

This film presents a couple who learns that the sex of their soon-to-be-born child cannot be determined. While the father desires a specific gender assignment, the mother embarks on a journey of exploration into intersexuality. This latest work from Zuno, who previously won the best director award at Series Mania International Panorama for “Tengo Que Morir Todas las Noches” and directed the top Netflix show “The Secret of the River”, which topped the charts in Mexico for five weeks last fall, was also showcased in Mar del Plata’s Latin American Competition last year.

Documentary Films in Focus

“At the End of the World,” (directed by Abraham Escobedo Salas, Mexico, Belgium)

Following his 2022 film “Breaking la Vida,” this is Escobedo Salas’ second feature-length documentary. It follows Cecilio, a squatter in Lisbon, as he struggles with drug addiction while discovering moments of dignity and solidarity along the way. This narrative is based on a 2021 short film that received a nomination for a Mexican Academy Ariel Award.

“Boca Vieja,” (directed by Yovegami Ascona Mora)

Selected for the Berlin 2024 European Film Market’s Equity & Inclusion program, this documentary is filmed in a coastal village in Oaxaca that faces severe flooding during the rainy season. The community grapples with the fear of losing their land permanently. Ascona Mora, who won the Hazlo en Cortometraje award with his short documentary “Mëët Naax” (Con la Tierra), directs this poignant exploration.

“Isleño,” (directed by Cesar Talamantes)

Returning to the screen is Talamantes, who previously directed the acclaimed documentary “Los Otros Californianos” in 2012. In this latest project, he captures the daily lives of residents on remote islands in Baja California, shedding light on their challenges and the stunning beauty of the Pacific Ocean.

“I Watched the Drops Fall, Illuminated by the Lightning, and With Each 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,” directed by Pepe Gutiérrez and Carlos San Juan)

This documentary feature delves into the origins and growth of colonialism, specifically exploring the Spanish trade route from Manila to Acapulco, which was active from 1565 until 1815, facilitating the exchange of New World silver for luxurious goods from China and other Asian countries.

“To be Named Olympia,” (“Llamarse Olimpia,” directed by Indira Cato)

This powerful documentary portrays Olimpia Coral Melo, a victim of digital sexual violence, who dedicated 13 years to advocate for the criminalization of this act in Mexico. Her efforts culminated in the passage of the Olimpia Law, which has been adopted in many Mexican states. Directed by Cato, who co-wrote the breakout hit “All of Me” (“Llévate mis amores”) in 2014, this film is a testament to resilience and justice.

Exploring Ibero-American Fiction Features

“Away,” (“Molt Lluny,” directed by Gerard Oms, Spain, Netherlands)

This acclaimed feature debut follows Sergio, a Spaniard living in Utrecht, Netherlands, as he embarks on a journey of self-discovery. Played by Mario Casas, his performance has been hailed by critics as one of his finest, earning him the best actor award at the Málaga Film Festival in March.

“The Best Mother in the World,” (directed by Anna Muylaert, Brazil, Argentina)

A winner at both Sundance and Berlin, and presented worldwide by The Match Factory, Muylaert’s previous film “The Second Mother” effectively addressed class disparity in Brazil. Her latest work presents a woman’s determined response to domestic abuse, showcasing her signature blend of social commentary and emotional depth, as noted by Variety. Co-produced by Biônica Filmes, Argentina’s Telefilms, and Galeria Distribuidora.

“Bitter Gold,” (“Oro amargo,” directed by Juan Olea, Chile, Mexico, Uruguay, Germany)

Set against the backdrop of Northern Chile, this film follows a teenage girl (played by Katalina Sanchez) who takes over her father’s mine while navigating her path to empowerment. Produced by Juntos Films in a noteworthy five-way collaboration, this marks Olea’s second feature following the 2014 film “El Cordero”.

“The Blue Path,” (“O último azul,” directed by Gabriel Mascaró, Brazil, Mexico, Netherlands, Chile)

Mascaró, an influential Brazilian filmmaker, returns with a film that has garnered the Berlin Special Jury Prize just weeks before the Oscars. This sensual film features striking visuals and serves as a protest against state-run segregation, marking a significant moment in contemporary Brazilian cinema.

“The Cottage,” (“La Quinta,” directed by Silvina Schnicer, Argentina, Brazil, Chile, Spain)

A family thriller with horror elements, this film marks Schnicer’s first solo directorial effort after co-directing the award-winning “Carajita”. Its sales agents, Luis Collar and Yeniffer Fasciani at Really feel Sales, describe it as a story that delves into the complexities of human nature through the eyes of children.

“Cuerpo celeste,” (directed by Nayra Ilic García, Chile, Italy)

Produced by Oro Films in Chile and Dispàrte in Italy, this film is a follow-up to Ilic’s debut “Square Meter”. It follows a 16-year-old girl grappling with the aftermath of her father’s death, clinging to hope for a fresh start alongside her mother.

“Deaf,” (“Sorda,” directed by Eva Libertad, Spain)

One of the festival’s standout films, this Berlinale Panorama Audience Award winner has seen incredible international sales through Latido Films, reaching markets in Australia (Madman), Japan (New Select), France (Condor Distribution), Germany (Piffl Medien), Italy (Lucky Red), and the UK (Curzon). Libertad’s debut feature tells the story of a pregnant deaf woman navigating her fears surrounding motherhood.

“Dreaming of Lions,” (“Sonhar com Leões,” directed by Paolo Marinou-Blanco, Portugal, Brazil, Spain)

Premiering at Tallinn’s Black Nights Film Festival, this black tragicomedy tackles the sensitive subject of euthanasia. The story follows Gilda, a terminally ill woman played by Denise Fraga, who discovers an organization that could help her die with dignity, raising profound ethical questions.

“Martina’s Search,” (“A Procura de Martina,” directed by Márcia Fária, Brazil, Argentina)

A compelling screenplay co-written by Gabriela Amaral (“Pleasant Beast”) and Fária, a Palme d’Or nominee for her short film “Estaçao”. This film features Mercedes Morán as Martina, a 67-year-old woman suffering from Alzheimer’s who embarks on a mission to find her grandson, who was born during Argentina’s military dictatorship and is believed to be in Brazil. Her journey unfolds as a poignant battle against time, memory loss, and the pursuit of connection.

“This Island,” (“Esta isla,” directed by Lorraine Jones Molina and Cristián Carretero, Puerto Rico)

Scheduled for its world premiere in the U.S. Narrative Competition at the Tribeca Film Festival, this feature debut is described as a deeply personal and poignant reflection on the Puerto Rican experience. It promises to resonate with audiences through its heartfelt storytelling.

“Tiger,” (“Tiguere,” directed by José Maria Cabral, Dominican Republic)

Cabral, a prominent figure in Dominican cinema known for his film “Woodpeckers” showcased at Sundance, presents a story that critiques the pervasive machismo in his country. The film takes place in a boot camp where the protagonist’s father instructs young Dominicans on how to embody toxic masculinity, illuminating the societal pressures faced by men and boys.

“The Wild Years,” (“Los años salvajes,” directed by Andrés Nazarala, Chile)

This film marks the second feature from writer-director Nazarala, known for his film “Debut”. It follows Ricky Palace, a forgotten figure from the Chilean New Wave of the ’60s, as he faces challenges decades later when the bar where he performed in Valparaíso is shut down. Produced by Oro Films, a company dedicated to supporting emerging talent from Chile and beyond, this film highlights the struggles of artists in a changing landscape.