Films in Progress is a program of aid to Latin American film running twice yearly, organized by the San Sebastian International Film Festival and the Rencontres Cinémas d'Amérique Latine in Toulouse. This edition a total of 94 film entries were received from 16 countries: Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Cuba, Ecuador, France, Germany, Italy, Mexico, Peru, Spain, Uruguay and Venezuela. Six films have been selected to participate in Films in Progress 22 on September 25 and 26 at the 60th edition of the San Sebastian International Film Festival.
This year's titles are: Asalto a la Fábrica de Caloventores (Argentina) by Estanislao Buisel; De Menor(Brazil) by Caru Alves de Souza; Gloria (Chile) by Sebastián Lelio, who already participated at the San Sebastian Festival with the film La Sagrada Familia (2005) in the Horizontes Latinos section; Las Horas Muertas (Mexico - Spain - France) by Aarón Fernández; Las Niñas Quispe (Chile - France - Argentina) by Sebastián Sepúlveda; and Tanta Agua (Uruguay) by Ana Guevara and Leticia Jorge, a film also selected for the last edition of Films in Progress 21 at the Rencontres Cinémas d'Amérique Latine in Toulouse.
The following awards will be granted at Films in Progress 22:
Films in Progress Industry Award: the companies Daniel Goldstein S.L., Deluxe Spain, Dolby Iberia, Imasblue, Kodak (División de Cine Profesional), Laserfilm Cine y Video, Nephilim Producciones, No Problem Sonido and Vértigo Films will assume the post-production of a film until obtaining a 35mm copy subtitled in English and its distribution in Spain.
Norteado-Films in Progress Award: The production companies Film Tank, Tiburón Producciones, Imcine Conaculta, McCormick de México and IDN, will present USD 5,000 to one of the films selected for Films in Progress 22 by way of acknowledgement for the awards granted to Norteando in 2008, thanks to which they were able to complete and distribute the film.
In addition, the Films in Progress movies will have the option to international diffusion in the Instituto Cervantes world network.
Films in Progress enjoys the support of the following companies and institutions: Cine Sin Fronteras (CSF), Daniel Goldstein S.L., Deluxe Spain, Dolby Iberia, Film Tank, IDN, Imasblue, Imcine Conaculta, Instituto Cervantes, Kodak (División de Cine Profesional), Laserfilm Cine y Video, McCormick de México, MEDIA Mundus, Nephilim Producciones, No Problem Sonido, Programa Ibermedia, Tiburón Films, Vértigo Films, and the collaboration of Caisse Centrale D'Activités Sociales (CCAS), Centre National du Cinéma et de l'Image Animée (CNC), CINÉ +, Cinéfondation, Commune Image, Confédération Internationale des Cinémas d'Art et Essai (CICAE), Conseil Général de la Haute Garonne, Conseil Régional Midi-Pyrénées, CROUS de Toulouse, Eaux Vives, École Supérieure d'Audiovisuel (ESAV), EP2C - Postproduction Training Programme, Europa Distribution, Firefly, La Trame, Mactari, Mairie de Toulouse, Marché du Film, Signis and Titra TVS
ASALTO A LA FÁBRICA DE CALOVENTORES
Estanislao Buisel Quintana (ARGENTINA)
All sorts of new things are happening to Julio: a love affair, a new job and a project with an old friend. His project is to make a photonovel; watching him, we closely follow the development of an audiovisual narration process. Love is love, and his new job sales assistant in a bookshop. Julio soon realises that it's very easy to steal there and he starts taking whatever he can. This complicates the relationship with his girlfriend, with his project and with his job.
DE MENOR / UNDERAGE (UNDERAGE)
Caru Alves de Souza (BRAZIL)
Helena, a young attorney, has the custody of her teenage brother, Caio. Her daily routine is now about raising her brother and doing her job in the Juvenile Court at Santos, Brazil, where she works as a public defender for children and adolescents who have broken the law. The harmony of their relationship is put to the test when Caio commits a serious crime and Helena is landed with the responsibility of defending him from the accusations.
Sebastián Lelio (CHILE)
Gloria is a lively, attractive 58 year-old Chilean woman about to enter a new phase of her life; old age. She is a great talker, lots of fun and always stands out from the others. Her days revolve around her work, an active social life, and doing what she can for her two children from a failed marriage. She pines for another chance at love, but her relationships never prosper. On this journey, she will find the courage to confront the challenge of aging and the advantages of doing so alone, proudly, with her head held high and without losing the smile that defines her as a woman.
LAS HORAS MUERTAS / THE EMPTY HOURS (THE EMPTY HOURS)
Aarón Fernández (MEXICO-SPAIN-FRANCE)
Sebastian, 17, takes over his uncle's motel on the desolate tropical coast of Veracruz single-handed. Miranda, 35, a local estate agent, occasionally uses the motel to meet Mario, her lover. Mario is always late for their amorous escapades, and Miranda has to wait for him. During these intervals, Sebastian and Miranda gradually grow closer to one another, even if they know that at the end of the day whatever happens between them can never last.
LAS NIÑAS QUISPE
Sebastián Sepúlveda (CHILE-FRANCE-ARGENTINA)
Based on a true story occurring in 1974, the film tells the tale of the sisters Justa, Lucia and Luciana Quispe, shepherds from the altiplano who lead a lonely life. Their recent mourning for the death of a sister and news arriving from the outside plague them with existential doubts that will relentlessly drive them to a tragic end.
TANTA AGUA / SO MUCH WATER (SO MUCH WATER)
Ana Guevara, Leticia Jorge (URUGUAY-MEXICO-THE NETHERLANDS)
Lucia is 14, but looks younger. She's thin and has the body of a child. Her parents are divorced; she and her brother live with their mother. Their father Alberto, a chiropractor, only sees his kids occasionally. He rents a cabin at the hot springs. The holiday is going to be short and it looks as if it's about to rain. Their hearts sink on arrival. It's forbidden to use the pools because of an electric storm. Alberto tries to keep them amused and make good of their disastrous family break, but the harder he tries the worse it gets.