Now on its twenty second version, the Guadalajara Movie Pageant (FICG) Co-Manufacturing Assembly program has grown from power to power, luring a variety of administrators and producers from Spain and Latin America, each new and established. There are fairly quite a lot of initiatives from Argentina, which has leaned extra closely on co-productions given the plunge in federal help at house. In 2024, Argentina’s right-wing populist authorities moved to scrap funding for the nationwide Movie-TV physique, INCAA, as a part of sweeping austerity measures aimed toward curbing the nation’s runaway inflation.
Happening April 20–22 this 12 months, this system requires initiatives in improvement – throughout fiction, documentary and animation – to have a accomplished screenplay and at the least 20% of their financing secured.
Its major goal is to hyperlink the contributors, 19 on this version, with business professionals, funding our bodies, producers, consumers and worldwide distributors so as to facilitate their completion.
The choice committee this 12 months included Peruvian filmmaker-producer Joanna Lombardi; Argentine screenwriter Juan Manuel Dartizio, Pato Portillo, artistic director of content material improvement firm Actual Tellers, Mexico-based Bolivian producer Gabriela Maire (“The Good Women”) and Mexican filmmaker Samuel Sosa.
“Cinema permits us to inform our tales and protect them in pictures, narratives and phrases, in order that sooner or later individuals can perceive who we have been by means of these movies, moderately than solely by means of the works that obtain probably the most consideration or likes. This is essential for us,” mentioned FICG Trade head Ximena Urrutia.
Among the many standouts on this crop are Daniela Schneider’s “The Infinite Evening,” produced by Fernanda López, Amat Escalante and Daniela Romo. It types a part of a extremely various choice of works from completely different international locations.
The lineup additionally options the Argentine mission “The Different Voice,” a documentary directed by Agustina Pérez Rial, with a robust producer backing of Nicolas Gil Lavedra, Emiliano Torres and Felicitas Raffo. There’s even a U.S.-Mexico co-production “All Different Components,” directed by Cristina Ibarra, who hails from in Los Angeles. “As neighbors, the U.S. and our neighborhood share deep ties – particularly inside the Latino neighborhood—grounded in widespread roots and an ongoing dialogue. Sustaining and strengthening that trade is significant, notably within the present context,” mentioned Urrutia.
The lineup:
“All Different Components,” (“Las partes que faltan”) Cristina Ibarra, U.S.
Developed by U.S.-based All Different Components LLC, a documentary/hybrid manufacturing firm, the mission is in manufacturing. Produced by Vanessa Perez, Cristina Ibarra and Heather Courtney, it facilities on cross-border surveillance themes. The movie follows a person returning to El Paso after 20 years in exile, whose homecoming turns into digital confinement below ICE monitoring. The movie traces how a life as soon as outlined by motion throughout the U.S.–Mexico border is remodeled into one among enforced stillness and fixed remark. As Ibarra states, it explores the shift from bodily borders to invisible programs of surveillance over our bodies, houses and information.
“Germaín, The Black Angel” (“Germaín, el Ángel Negro”), Tomás Alzamora Muñoz, Chile
Developed by Santiago-based Equeco, an auteur-driven Chilean manufacturing firm based in 2016 (“Denominación de origen,” “Historical past and Geography”) the mission is in improvement, with a slate increasing by means of worldwide co-productions led by “Il Cileno” and “Hijas únicas.” Produced by Pablo Calisto, pic follows Germaín, a 16-year-old in 1967 Chile whose abandonment and nocturnal extra turn into the emotional engine for forming Los Ángeles Negros, one among Latin America’s most influential bands. As Alzamora states, the mission displays on “who stands behind musical phenomena and what drives them to create.”
‘Germaine, The Black Angel’ Courtesy of FICG
“Her Ocean” (“El Mar La Mar”), Julian Amaru, Perú, México
Developed by Lima-based Ultimate Abierto alongside Mexico’s Apapacho Movies, the mission is in pre-production for a 2027 shoot, positioning itself inside a Peru–Mexico co-production pipeline targeted on rising Latin American auteur cinema. Produced by Maria Paz Barragán and Ruben Rojo, with writing by Julian Amaru and Christopher Vasquez, the coming-of-age magical realist drama follows Ray, a younger fisherman fleeing homophobia and household rupture as he journeys to Iquitos in quest of his mom, navigating need, friendship and identification within the Peruvian jungle. As Amaru states, it’s “a narrative of affection and braveness.”
“Right here Is Not Like That” (“Aquí no es así”), Sebastian Molina Ruiz, Mexico
From Calle Calandria, the Mexican indie manufacturing outfit behind competition titles ‘Mostro” and “Todos los incendios” is creating the hybrid documentary, now in pre-production and anticipated to attract business consideration forward of the 2026 World Cup. The movie explores Mexico Metropolis past world spectacle. As Molina Ruiz states, “Right here Is Not Like That” seeks to disclose “hidden mechanisms… marked by precariousness, exclusion and on a regular basis resistance,” signaling robust auteur-driven nonfiction traits at this time. Diandra Arriaga (“Mostro”) and Gabriela Maldonado (“Ricochet”) produce.
“Child” Anna Lu Machado, Brazil
Developed by Rio de Janeiro-based Raccord Produções, based in 1993 and led by Clélia Bessa, with over 23 titles in partnership with Disney and Globo Filmes and competition presence in Venice, Cannes, and Rotterdam (“Madalena,” “The Little Prince’s Rap Towards the Depraved Souls”) in co-production with Baracoa Filmes and Casa Latina Movies. Produced by Bessa and government produced by Gregorio Rodríguez, it follows a filmmaker reconstructing her father’s reminiscence by means of a Cuban boxer fable, turning cinema into an area the place absence turns into dialogue. Machado says: “It’s “a hybrid documentary that transforms intimate loss right into a common reflection on reminiscence and bonds.”
“Menarche,” (“Menarquia”) Jairo Gamaliel Ramos Alvarado, Panama, Spain, Peru
Developed by Panama-based Infocus Video Manufacturing unit Cine & TV, “Menarche” is in preproduction as a Spain–Peru–Panama co-production with Cine y TV Teleandes SRL and Marco Antonio Toledo Oval. Reflecting business curiosity in inclusive, community-driven storytelling, the movie follows an androgynous pre-teen who, after their father’s demise, takes on farm duties whereas confronting identification by means of her first menstruation. As Ramos notes, it portrays “ancestral rural information with dignity.” Written by Elisa Puerto Aubel and Ramos, it stars Wendy Jaramillo and Christhian Esquivel Palomino.
“Identify and Surname” (“Nombre y Apellidos”), Duván Duque Vargas, Colombia, France
Evidencia Movies, based by Franco Lolli (“Gente de Bien”) and behind Cannes-selected “La Perra,” companions with Continente Photos and France’s Srab Movies (“Les Misérables”) on the mission, at present in superior improvement and lately shortlisted for Torino Movie Lab’s FeatureLab. Produced by Duque Vargas, Capucine Mahé, Franco Lolli, Christophe Barral,and Toufik Ayadi, it displays a robust Colombia–France co-production mannequin concentrating on worldwide festivals. Drama follows a young person drawn again into his father’s violent loan-sharking world, the place escape turns into inheritance. As Mahé says, it marks “the end result of this quest.”
“Not a River” (“No es un río”), Diego Martinez Ulansoky, Mexico, Argentina
Developed by Mexico Metropolis-based Caponeto, whose credit embrace “My Tender Matador” and “The Virgin of the Quarry Lake,” movie is in superior improvement with Argentina’s Ajimolido Movies and at present in search of co-production companions and funding, reflecting ongoing business demand for cross-border Latin American collaborations. The drama follows Tilo, who travels to a distant island after his father’s demise, the place buried tensions and unresolved pasts floor. As Ulansoky states, it explores “a territory the place the true and the ghostly coexist,” specializing in reminiscence and what stays unstated.
‘Not a River’ Courtesy of FICG
“Our Girl of Whispers” (“El Camino Amarillo”), Ale García & Carla Sierra, México, Chile
Developed by Mexico-based El Camino Amarillo in co-production with Chile’s La Palma de Oro and La Vieja Rara, the mission in improvement seeks extra financing and worldwide co-production companions. Positioned inside Mexico–Chile elevated horror collaborations, the drama follows a grieving mom who invokes La Susurradora after a brutal household loss, gaining damaging powers that reveal revenge as self-consumption. As Sierra states: “Reasonably than representing horror, we purpose for the viewer to inhabit it –uncomfortable, intimate and unimaginable to look away from.”
“Plaster Virgins” (“Vírgenes de yeso”) Katherina Tougher, Chile
Developed by northern Chile-based Volcánica Movies alongside Cyan prods (“Medea,” “Delirio” by Alexandra Latishev), the mission is produced by Cynthia García Calvo and written by Tougher and Elisa Eliash, it displays a concentrate on identity-driven narratives inside culturally rooted settings. The approaching-of-age LGBTQ+ drama follows Rosario, a 14-year-old woman in La Tirana who, amid a vibrant spiritual competition, experiences a private awakening by means of her reference to an older dancer. As García Calvo states, it explores gender roles and social expectations inside a singular visible and sonic universe.
“Talia After Talia” (“Talia después de Talia”), Pedro Speroni, Argentina, France, Switzerland
Developed by Argentina-based El Ojo Silva, “Talia After Talia” is in superior improvement as a co-production with Les Movies de l’Œil Sauvage and Alva Movies, with help from the CNC Enhanced Growth Grant and Stichting Linked Basis, reflecting ongoing business help for worldwide co-productions. The documentary follows Talia, 27, returning to Buenos Aires’ Fuerte Apache after 9 years in jail, navigating survival, stigma and autonomy. As Speroni states, the movie provides her “a dignified and resonant voice.” “Talia after Talia” completes the trilogy that Speroni started with “Rancho” and “Los Bilbao,” delving into the jail universe.
“That I Die As a result of I Do Not Die” (“Que Muero Porque No Muero”) Felipe Carmona, Chile, Argentina
Developed by Chile-based El Otro Movie, recognized for Queer Lyon awardee “The Prince” and “The Reborn,” the mission is in superior improvement with Argentina’s Le Tiro, at present in search of financing, reflecting ongoing curiosity in auteur-driven Chilean–Argentine co-productions with robust competition positioning. Fronted by Pablo Larraín star Alfredo Castro and Laura Paredes, drama is about in Seventies Chile follows Anglés, a priest and literary critic main a double life between academia, clandestine Marxist instruction and secret creative circles, till a liaison with a author and her CIA-linked husband pulls him right into a surreal spiral of political and religious collapse. As Carmona states, it explores “the contradiction between tradition and barbarism.”
‘That I Die As a result of I Do Not Die’ Courtesy of FICG
“The Mates of My Mother and father” (“Los amigos de mis papás”), Romina Tamburello, Argentina
Developed by Argentina-based Pez Cine in co-production with Imval Producciones and El Cielo Cine, and Tamburello’s follow-up to hit “Vera and the Pleasure of Others,” the mission is in superior improvement. Produced by Santiago King, it follows a regular unbiased Argentine function construction targeted on character-driven comedy with regional co-production collaboration. The movie follows a daughter who tries to assist her dad and mom turn into swingers, resulting in an exploration of household boundaries and intimacy dynamics.
“The Infinite Evening” (“La Noche Infinita”), Daniela Schneider, México
Developed by Mexico-based Cárcava Cine (“Misplaced within the Evening,” Cannes 2024; “Gown of Gems,” Berlinale Jury Prize 2023; “The Untamed,” Venice Greatest Director 2018), in co-production with Peluca Movies, Cárcava Cine and El Estudio, the mission is in improvement and structured for worldwide financing, with early discussions with French gross sales agent Luxbox. Produced by Daniela Maung, Fernanda de la Peza, Amat Escalante and Pablo Cruz, it’s positioned inside a festival-driven auteur slate. The movie follows Bertha, a younger mom whose household secret destabilizes her life as she turns into obsessive about a girl from a century earlier, the place inherited reminiscence, need and home histories collapse throughout generations.
“The Different Aspect” (“Del otro lado”), José Luis Rugeles Gracia, Colombia, Brazil, France
Developed by Colombia-based Rhayuela Movies, producers of “El Páramo,” “Alias María” and “Rebelión,” “The Different Aspect” is in improvement as a co-production with Capuri TV (Brazil) and Promenades (France). The mission, starring Claudio Cataño (“One Hundred Years of Solitude”), displays ongoing business curiosity in character-driven Latin American–European collaborations. Drama follows Miguel, a physician who loses his son and abandons his life, drifting by means of the streets the place he types fragile bonds with a avenue canine and a younger intercourse employee. As Rugeles states, it explores “despair, habit and solitude” formed by “human fragility.”
‘The Different Aspect’ Courtesy of FICG
“The Different Voice” (“La otra voz”), Agustina Pérez Rial, Argentina
Gaman Cine, based by Nicolas Gil Lavedra, behind acclaimed titles “Eami” and “Ls83,” is finalizing improvement on the documentary, co-produced with Fiord Estudio and Lorolo. The movie reconstructs the exile of iconic singer Mercedes Sosa between 1979 and 1982 by means of unpublished letters and archival materials, reflecting a broader business development towards archive-driven music documentaries. As Pérez Rial explains, the mission reveals “an intimate and little-known dimension… the place Mercedes emerges by means of her personal private and non-private phrases.” Gil Lavedra, Felicitas Raffo and Emiliano Torres produce.
“The Valley of the Echoes” (“El Valle de los Huesos”), Adán Ruiz, México
Travesía Cine, a Mexico Metropolis-based studio targeted on auteur-driven cinema, is advancing the documentary in improvement with co-producer Avalancha Studio, whereas in discussions for Mexican distribution. Produced by Yuli Rodríguez and Ruiz, it’s set in an industrial city the place a number of lives intersect round a skeleton constructed from discovered bones, reflecting systemic violence. As Ruiz states, it depicts violence as a social illness embedded in on a regular basis life. “Utilizing scavenged bones as a story bridge, the movie connects three fractured lives to replicate on the macabre intersection of commercial exploitation and necropolitics.”
“The Whisperer” (“La Susurradora”), Ale García & Carla Sierra, México
Developed by Mexico-based La Palma de Oro Movies and La Vieja Rara, the mission is in improvement. Produced by Antonio Urdapilleta and Valentina Vio and written by Ale García and Carla Sierra, the movie follows Alba, who returns to Catemaco after the lynching of her husband and son, and summons La Susurradora, an historical deity that grants her damaging energy in trade for bodily sacrifice. As she carries out her revenge, she turns into more and more consumed by the pressure she invokes.
‘The Whisperer’ Courtesy of FICG
“Why Did You Come Again Each Summer season” (“Por qué volvías cada verano”), Lorena Muñoz, Argentina
Developed by Argentina-based Mostra Cine alongside Cindy Teperman SRL and Atrece Creaciones, the mission is in superior improvement, positioning itself inside a robust wave of Latin American movies addressing institutional abuse and reminiscence. Produced by Valeria Bistagnino, Tomás Eloy Muñoz Lázaro, Cindy Teperman, Delfina Montecchia and Ana Saura, it focuses on socially pushed storytelling. Drama follows Lourdes, 20, who decides to report her uncle, an area police commissioner, for childhood sexual abuse through the summers she spent in his city.
