{"id":2354,"date":"2021-07-08T15:26:48","date_gmt":"2021-07-08T19:26:48","guid":{"rendered":"https:\/\/www.chiledoc.cl\/en\/?p=2354"},"modified":"2021-07-08T15:26:48","modified_gmt":"2021-07-08T19:26:48","slug":"chilean-cinema-emerges-from-the-pandemic","status":"publish","type":"post","link":"https:\/\/www.chiledoc.cl\/en\/chilean-cinema-emerges-from-the-pandemic\/","title":{"rendered":"Chilean Cinema Emerges From the Pandemic"},"content":{"rendered":"

By Variety<\/a>
\nJULY 7, 2021<\/p>\n

Chile is starting its own big restart. Few national industries will have a larger online presence at this year\u2019s Cannes Film Market. Big name news has broken in early market plays as well.<\/p>\n

After features with Rachel Weisz and Rachel McAdams (\u201cDisobedience\u201d) and Julianne Moore (\u201cGloria Bell\u201d), Academy Award winner Sebasti\u00e1n Lelio, (\u201cA Fantastic Woman\u201d) will associate produce \u201cEl Porvenir de la Mirada,\u201d a doc feature that captures the trauma of some of the 460 protesters shot in the eyes by Chilean police during massive demonstrations that erupted in October 2019.<\/p>\n

Set up at Storyboard Media (\u201cSantiago, Italia,\u201d \u201cJailbreak Pact\u201d), \u201cPorvenir\u201d is directed by distinguished Chilean doc filmmaker Cristi\u00e1n Leighton (\u201cKawase San,\u201d \u201cNowheremen\u201d).<\/p>\n

Even while gearing up to direct Joaquin Phoenix in A24\u2019s \u201cDisappointment Blvd.,\u201d Ari Aster has signed on to executive produce Chilean stop-motion short \u201cThe Bones,\u201d directed by Crist\u00f3bal Le\u00f3n and Joaqu\u00edn Coci\u00f1a (\u201cThe Wolf House\u201d) with a soundtrack composed by acclaimed U.S. violinist Tim Fain, featured on the scores of \u201cMoonlight,\u201d \u201cBlack Swan\u201d and \u201c12 Years a Slave.\u201d<\/p>\n

Meanwhile, three awaited first features are rolling or will soon go into production: \u201c1976,\u201d from \u201cMachuca\u201d star Manuela Martelli (who is also developing \u201cDeshielo\u201d), which shoots in August, produced by Wood Prods. and Cinestaci\u00f3n; Francisca Alegria\u2019s \u201cThe Cow Who Sang a Song About the Future,\u201d inspired by her international fiction short winner at 2017\u2019s Sundance; and Felipe G\u00e1lvez\u2019s \u201cThe Settlers,\u201d a five-way international co-production, rolling in November.<\/p>\n

Also produced by Giancarlo Nasi, \u201cBlanquita,\u201d Fernando Guzzoni\u2019s follow-up to San Sebastian competition contender \u201cJesus,\u201d rolled in May. Set up at Pablo and Juan de Dios Larrain\u2019s Fabula, \u201cThe Sorcerers,\u201d from Christopher Murray \u2014 whose \u201cThe Blind Christ\u201d played in Venice competition \u2014 starts lensing in early August.<\/p>\n

Storyboard Media will present a new production, \u201cUn buen d\u00eda para morir,\u201d inspired by an extraordinary true story, at the Cannes\u2019 Producers Network.<\/p>\n

\u201cThe participation at the Cannes Film Market of so many titles, shot or completed during COVID-19, as well as the announcement of new shoots, underscores that, despite such difficult circumstances, Chile\u2019s audiovisual industry is still in good health and now looking towards the future,\u201d says Constanza Arena, CinemaChile executive director. 2021 sees a record 121 productions, between narrative features, documentaries and shorts, she adds.<\/p>\n

Chile\u2019s news and March\u00e9 du Film presence also says a lot about the country\u2019s post-pandemic cinema.<\/p>\n

With the breakthrough of a Nov\u00edssimo Cine Chileno at the 2005 Valdivia Festival, its cinema began to discover not only a new generation of filmmakers but also a voice \u2014 one that countered official versions and plumbed the hostages left to fortune by Augusto Pinochet\u2019s bloody dictatorship.<\/p>\n

That voice still resonates loud and clear in many new productions, whether in \u201cThe Settlers,\u201d a searing but lucid indictment of how Chile\u2019s West was really won; or \u201c1976,\u201d a study of a pervasive modern malaise, a woman\u2019s unconscious self-repression in a highly conservative environment, three years into Pinochet\u2019s dictatorship.<\/p>\n

At its birth, the Novissimo Cine Chileno was a near male-monopolized affair. But now, women call the shots in Chile. \u201c1976,\u201d for instance, is produced by Wood\u2019s Alejandra Garc\u00eda and Omar Zu\u00f1iga, partnered at Cinestaci\u00f3n by Dominga Sotomayor, one of seven directors in Cannes Special Screening \u201cThe Year of Everlasting Storm.\u201d Sotomayor\u2019s also opening an open air cinema, CCC, in Santiago. \u201cThe Sorcerers\u201d is produced by Roc\u00edo Jade, \u201cPorvenir\u201d and \u201cMorir\u201d by Gabriela Sandoval and Carlos Nunez, who head up Chile\u2019s Sanfic Festival.<\/p>\n

Emerging from pandemic, Chile is firing on four cylinders. Presentations include not only a Producers Network, but an Animation Work in Progress, Chile Docs in Progress and a Sanfic Goes to Cannes. Chile is coming back.<\/p>\n","protected":false},"excerpt":{"rendered":"

By Variety JULY 7, 2021 Chile is starting its own big restart. Few national industries will have a larger online presence at this year\u2019s Cannes Film Market. Big name news has broken in early market plays as well. After features with Rachel Weisz and Rachel McAdams (\u201cDisobedience\u201d) and Julianne Moore (\u201cGloria Bell\u201d), Academy Award winner […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/posts\/2354"}],"collection":[{"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/comments?post=2354"}],"version-history":[{"count":1,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/posts\/2354\/revisions"}],"predecessor-version":[{"id":2356,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/posts\/2354\/revisions\/2356"}],"wp:attachment":[{"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/media?parent=2354"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/categories?post=2354"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/tags?post=2354"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}