{"id":3153,"date":"2022-05-09T15:30:11","date_gmt":"2022-05-09T19:30:11","guid":{"rendered":"https:\/\/www.chiledoc.cl\/en\/?p=3153"},"modified":"2022-05-18T16:12:50","modified_gmt":"2022-05-18T20:12:50","slug":"chilean-documentaries-at-cannes-docs","status":"publish","type":"post","link":"https:\/\/www.chiledoc.cl\/en\/chilean-documentaries-at-cannes-docs\/","title":{"rendered":"Chilean documentaries at Cannes Docs"},"content":{"rendered":"

\u2022\tDocs in Progress Showcase Chile is the name of the event focusing on four editing-stage feature movies at Cannes Docs, Cannes Film Festival\u2019s March\u00e9 du Film\u2019s documentary dedicated space. <\/strong><\/p>\n

\u2022\tMovies will be presented to decision-makers, festival programmers, and sales agents from around the world. Director Ignacio Ag\u00fcero\u2019s work Notes for a film<\/em> is one of them. <\/strong><\/p>\n

\u2022\tBesides, Patricio Guzman\u2019s next movie, My Imaginary Country<\/em>‘s world premiere will take place in the Official Selection Special Screenings, and the feature film Our Memory will be presented in one of the sections of Cannes Docs.<\/strong><\/p>\n

Check the Catalogue Cannes 2022<\/a><\/strong>.<\/p>\n

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Each year Cannes Docs<\/strong>, the industry instance for documentaries of the March\u00e9 du Film of the Cannes Film Festival in France<\/strong>, invites a group of institutions to organize a work in progress during the days of the event. For the third time, Chile is one of the guest countries and Chiledoc is one of the organizing institutions<\/strong>. This year, the projects in editing stage Notes for a film<\/em>, The Fabulous Gold Haversting Machine<\/em>, Malqueridas<\/em> and Asteroid 2518<\/em>, will participate of this space. March\u00e9 du Film takes place from May 17 to 25 and the presentation of the projects will be on May 23<\/strong>. <\/p>\n

ProChile\u2019s General Director, Paulina Valderrama<\/strong>, highlights \u201cChile being one of the eight international partners at Cannes Docs is a reflection of Chilean documentaries\u2019 prestige at international markets, -especially in France, one of sectorial brand Chiledoc\u2019s focus. This means documentary makers will meet decision-makers, programmers, and sales agents, contributing to their fundraising and distribution opportunities. Finally, this prestige is a result of a long-term positioning and promotion work we have supported over the years<\/strong>. The audiovisual industry in general, and the documentary industry in particular, mean a special contribution to the diversification of our offer, and its value and quality aggregation\u00bb.<\/p>\n

Four editing-stage projects will be presented at Docs-In-Progress Showcase Chile<\/strong>, a space dedicated to strengthening and promoting fundraising and distribution opportunities, for those projects. \u201cThese four movies stand out for showing amazing characters, sensitive and imaginative stories<\/strong>, some with lots of humor. We know these will surprise industry agents\u201d, Paula Ossand\u00f3n, Chiledoc\u2019s director, comments.<\/p>\n

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Besides, Our Memory<\/em>, project directed by Mat\u00edas Rojas and produced by Tom\u00e1s Gerlach, Clara Larra\u00edn and Francoise Nieto, will participate in the Spotlighted Projetcs<\/strong> at Cannes Docs<\/strong>, where potential co-producers and financing partners are invited to connect with top-quality international creative documentary projects. Our Memory<\/em> is a documentary intertwined with a fictional story, in which a woman, faced with the imminent loss of her memory, decides to go into a forest to unearth a secret, and thus try to ask forgiveness for a guilt she has carried all her life, linked to the darkest chapter of Chile’s recent history.<\/p>\n

On the other hand, Patricio Guzm\u00e1n\u2019s next movie<\/strong>, My Imaginary Country<\/em>, will be present at Special Screenings<\/strong> as a part of the event\u2019s Official Section<\/strong>, the same section in which The Cordillera of Dreams was awarded L\u2019\u0153il d\u2019or award for Best Documentary<\/strong> in 2019. The French-Chilean co-production, produced by Renate Sachse and Alexandra Galvis, goes through Chile\u2019s Social Outburst to the Constitutional Convention conformation, told exclusively through female voices\u2019 testimonies, like journalist M\u00f3nica Gonz\u00e1lez, feminist collective Las Tesis, Mapuche constituent Elisa Lonc\u00f3n, writer and actress Nona Fern\u00e1ndez, photographer Nicole Kramm, and political scientist Claudia Heiss, among many others.<\/p>\n

Chile\u2019s Showcase<\/strong><\/ins><\/p>\n

Four documentary projects stand out in this section. Notes for a movie<\/em>, a Chilean-French coproduction, directed by Ignacio Ag\u00fcero produced by Tehani Staiger, Viviana Erpel, Amalric de Pontcharra, and Elisa Sep\u00falveda<\/strong>, talks about the radical transformation of the recently pacified Araucan\u00eda territory, towards the end of the 19th century. \u201cWe are taking a story that is over a hundred years old, and that works as a double perspective, and as a reflection, we are very much interested in highlighting. That is why, being part of Cannes Docs is so important for the team, as it will allow us to take this story further to other spaces, and have more possibilities of boosting our project<\/strong>\u201d, Ignacio Ag\u00fcero, director of renowned documentaries like El diario de Agust\u00edn<\/em> or Nunca sub\u00ed el Provincia<\/em> claims.<\/p>\n

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The Fabulous Gold Haversting Machine<\/em>, directed by Alfredo Pourailly and produced with Francisco Herv\u00e9, tells the story of a rural gold miner who feels closer to death every day and whose son decides to build him a more professional gold-cropping machine. The documentary follows this father-son relationship at the end of the world. \u201cBeing part of Cannes Docs is a big boost, no doubt. It provides us with space to socialize our project with relevant world cinema agents, and also to understand how is the industry working nowadays<\/strong>\u201d, Pourailly affirms.<\/p>\n

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Malqueridas<\/em>, directed by Tana Gilbert and produced by Paola Castillo, portrays a group of female inmates who from jail rebuild their motherhood experiences through videos and photographs recorded with banned mobile phones. \u201cWe think it is a great sign that other cinematographic construction methods can be promoted at the March\u00e9 du Film, and positively reaffirms documentary\u2019s openness and quest to represent Chilean reality<\/strong>\u201d, comments Tana Gilbert.<\/p>\n

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Lastly, in Asteroid 2518<\/em>, directed by Amanda Rutllant, produced with Constanza Luzor<\/strong>o, Rutllant goes into her great-grandfather\u2019s life, a controverted astrophysicist that tried to build the largest telescope in the southern hemisphere during the Cold War. As the same time, her facing an autoimmune disease that starts attacking her body. \u201cWe are deeply convinced hard work, resilience, and believing in our point of view, is what has taken us this far<\/strong>, despite being a young team, that has just started its professional path\u201d, the director claims.<\/p>\n

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Chile\u2019s participation at Cannes Docs is organized by Chiledoc, Chilean documentary\u2019s sectorial brand, promoted by ProChile and the Chilean Documentary Corporation CCDoc.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

\u2022 Docs in Progress Showcase Chile is the name of the event focusing on four editing-stage feature movies at Cannes Docs, Cannes Film Festival\u2019s March\u00e9 du Film\u2019s documentary dedicated space. \u2022 Movies will be presented to decision-makers, festival programmers, and sales agents from around the world. Director Ignacio Ag\u00fcero\u2019s work Notes for a film is […]<\/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\/3153"}],"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=3153"}],"version-history":[{"count":4,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/posts\/3153\/revisions"}],"predecessor-version":[{"id":3175,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/posts\/3153\/revisions\/3175"}],"wp:attachment":[{"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/media?parent=3153"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/categories?post=3153"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/tags?post=3153"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}