{"id":2405,"date":"2021-07-12T13:23:52","date_gmt":"2021-07-12T17:23:52","guid":{"rendered":"https:\/\/www.chiledoc.cl\/en\/?p=2405"},"modified":"2021-07-13T10:26:24","modified_gmt":"2021-07-13T14:26:24","slug":"marche-du-film-unveils-pix-in-post-showcase-sanfic-goes-to-cannes","status":"publish","type":"post","link":"https:\/\/www.chiledoc.cl\/en\/marche-du-film-unveils-pix-in-post-showcase-sanfic-goes-to-cannes\/","title":{"rendered":"March\u00e9 du Film Unveils Pix-in-Post Showcase \u2018Sanfic Goes to Cannes\u2019"},"content":{"rendered":"

Por Variety<\/a>
\nJULY 9, 2021<\/p>\n

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Giovani Borba\u2019s \u201cEmpty House,\u201d Mar Pescio\u2019s \u201cThat Weekend\u201d and Martin Desalvo\u2019s \u201cEl Ciego, Border With Death\u201d will feature in a notable Sanfic Goes to Cannes pix-in-post showcase at July\u2019s March\u00e9 du Film.<\/p>\n

Two further films, both psychological dramas, bring large breath to the selection: Flavio Botelho\u2019s tragic but ultimately life-celebratory \u201cThe Life That\u2019s Left\u201d; and \u201cPatient(ly),\u201d a searing critique of Chile\u2019s healthcare system.<\/p>\n

A new talent springboard, Sanfic Goes to Cannes is the first time Sanfic has made the March\u00e9\u2019s Goes to Cannes films-at-rough-cut strand. That marks just the latest expansive move for Sanfic, Chile\u2019s Santiago Intl. Film Festival. Framing five titles which all screened at Sanfic Industria\u2019s Work in Progress in March, the Cannes lineup also marks fruit of a bold, counter-intuitive move by Sanfic Industria.<\/p>\n

As other festivals pushed back to later in 2021, Sanfic\u2019s industry arm moved into the breach, having postponed its August 2020 edition, launching an online event in March 2021.<\/p>\n

Selection enjoyed unprecedented access to some of the best first feature art pics coming onto the market in Latin America, bidding for big fest selection in the second half of 2021.<\/p>\n

\u201cLatin American film production is still proliferating, blessed with singular and diverse visions, and it has held up well despite the pandemic and the bad management of Latin American political institutions,\u201d said Storyboard Media producer Gabriela Sandoval (\u201cJailbreak Pact\u201d), Sanfic Industria head.<\/p>\n

She added: \u201cOne instance is the five titles, all works in progress, of Sanfic Goes to Cannes which immerse us in astonishing and moving worlds and stories. They\u2019re titles which will generate a lot of heat in the near future.\u201d<\/p>\n

Three of Sanfic Goes to Cannes\u2019 five titles \u2013 from Borba, Pescio and Botelho \u2013 are first features, made by confident young auteurs. The section is also rich in genre auteur art films.<\/p>\n

\u201cThat Weekend\u201d takes place in the city of Posadas, just across the Rio Paran\u00e1 from Paraguay, a a modern Western frontier whose inhabitants mix Guaran\u00ed, Spanish and Portuguese.<\/p>\n

A horror film at times, \u201cEl Ciego\u201d also unspools in Misiones, in Argentina\u2019s deep North, as Juana, mid-teens, one day stumbles on \u201cEl Ciego,\u201d a dark forbidden thicket which superstition has it, reveals dark secrets. That spurs Juana to becomes obsessed with her own family\u2019s dark secret: How did her mother die?<\/p>\n

Set on Brazil\u2019s vast Pampa, by the border with Uruguay, \u201cEmpty House\u201d turns on a taciturn former cattleman, now out of work, whose vast livestock grasslands are being replaced by high-tech big business soy production.<\/p>\n

But \u201cThat Weekend\u201d and \u201cEmpty House\u201d differ in one way from classic mid-last century Westerns. These pictured, with bygone-era cultural bias, the supposed carving out of civilization in wilderness.<\/p>\n

Sanfic Goes to Cannes delivers in contrast a devastating diagnosis of the destruction of traditional worlds, and the fragility of not only the poor but even Latin America\u2019s middle classes \u2013 seen in \u201cThe Life That\u2019s Left\u201d and \u201cPatient(ly)\u201d \u2013 when confronted by wrenching change. The region\u2019s commodities fueled optimism of the aughts now seems a distant dream.<\/p>\n

A brief breakdown of Sanfic Goes to Cannes titles:<\/p>\n

\u201cEl Ciego, Border With Death\u201d <\/strong>(\u201cEl Ciego, Frontera con la Muerte,\u201d Mart\u00edn Desalvo, Argentina)<\/p>\n

The latest from consolidating Argentine auteur Desalvo, like his \u201cDarkness by Day,\u201d \u201cEl Ciego\u201d mixes suspense drama, horror beats and character study. Juana, mid-teens, tends a charcoal pit with her drunk, morose father Rub\u00e9n, and investigates with increasingly obsession the mysterious death of her mother when she was a small child. But rather than a whodunnit, which moves the narrative along, \u201cthe emotional heart of the film is the search for a sense of own identity which occurs in adolescence,\u201d says Desalvo. Shooting in Misiones, he added, allowed a further \u201csense that the only future possible is either a life of sacrifice at work or emigration to a big city where the future isn\u2019t easy either.\u201d<\/p>\n

\u201cEmpty House\u201d<\/strong> (\u201cCasa Vazia,\u201d Giovani Borba, Brazil)<\/p>\n

Ra\u00fal returns from a night of cattle rustling on Brazil\u2019s endless Pampa to his home, a dainty shack by a dirt road, to discover his wife and children are gone. Raul attempts to cling on to the vestige of an old cattle world which offers little future. A revisionist Western with large visual and sound design ambitions, \u201cEmpty House\u201d captures Raul\u2019s sense of the near mythic status of the bygone cattle age, far from the righteous Christian consumerism of a new Brazil, embodied by his brother-in-law. \u201cThe tension and violence of the Western can reflect the times we live in, especially in a Latin American context,\u201d Borba told Variety. Produced by Tatiana Sager at Panda Filmes, and almost certainly big fest bound.<\/p>\n

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\u201cThe Life That\u2019s Left\u201d<\/strong>, (\u201cLa Vida Que Resta,\u201d Flavio Botelho, Brazil) Produced by Brazilian powerhouse Gullane, now preparing Netflix\u2019s \u201cSenna\u201d series, Flavio Botelho\u2019s debut charts two parents\u2019 desperate but divergent reactions to son Felipe\u2019s suicide from depression. Francisca retreats into a shell, obsessed with punishing the person responsible for Felipe\u2019s death. Carlos moves into Felipe\u2019s apartment, loses weight, befriends Felipe\u2019s friends as if he could bring his son back by impersonation. The question is whether either can find any sense to their lives and sense of their own worth after such decimating tragedy. Inspired by the director\u2019s own experience, and inevitably moving.<\/p>\n

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\u201cPatient(ly)\u201d<\/strong>, (\u201cPa(de)ciente,\u201d Constanza Fern\u00e1ndez, Chile)<\/p>\n

The latest film Roberto Doveris\u2019 Ni\u00f1a Ni\u00f1o Films (\u201cPlants,\u201d \u201cThe Prince\u201d), a burgeoning force on Chile\u2019s film production scene, and a stinging critique of Chile\u2019s underfunded healthcare system. In personal terms, however, it\u2019s the emotional odyssey of a doctor from domestic patriarch and professional authority on bioethics to a frailer being who, struck down with the rare Guillain-Barr\u00e9 Syndrome, gains what he reproves in an initial scene of the film: Empathy. Fern\u00e1ndez\u2019s second feature, following on \u201cMap for Love,\u201d a Sanfic 2012 best director winner.<\/p>\n

\u201cThat Weekend\u201d<\/strong> (\u201cEse Fin de Semana,\u201d Mara Pescio, Argentina, Brazil) Produced by Maravillacine (\u201cMarilyn\u201d) and Murillo Cine (\u201cThe Snatch Thief\u201d), \u201cThat Weekend\u201d has mother Julia returned to her multi-ethnic Posadas tenement to sign a document authorizing daughter Clara to leave Argentina with her father. Julia also aims to reclaim a stash of money she\u2019s hidden in her flat. But Clara, 17, has her own ideas for her future and needs the money to achieve them. A conflictive mother daughter fiction drama \u2013 and neo-Western, says Pescio \u2013 but often with a near documentary edge, portraying a rarely visited setting. \u201cI wanted to drill down on the bonds between characters who are conditioned by economic context,\u201d she adds.<\/p>\n

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Por Variety JULY 9, 2021 Giovani Borba\u2019s \u201cEmpty House,\u201d Mar Pescio\u2019s \u201cThat Weekend\u201d and Martin Desalvo\u2019s \u201cEl Ciego, Border With Death\u201d will feature in a notable Sanfic Goes to Cannes pix-in-post showcase at July\u2019s March\u00e9 du Film. Two further films, both psychological dramas, bring large breath to the selection: Flavio Botelho\u2019s tragic but ultimately life-celebratory […]<\/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\/2405"}],"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=2405"}],"version-history":[{"count":3,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/posts\/2405\/revisions"}],"predecessor-version":[{"id":2415,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/posts\/2405\/revisions\/2415"}],"wp:attachment":[{"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/media?parent=2405"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/categories?post=2405"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/tags?post=2405"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}