Gabriela Amaral Almeida, Victoria Galardi, Natalia López: A Powerful Lineup

Brazilian Gabriela Amaral Almeida’s “She, Crocodile,” Victoria Galardi’s “Hedgehogs,” and “Rambler,” from Mexico’s Astrid Rondero and Fernanda Valadez, are among the 14 projects being brought to market at San Sebastian’s Europe-Latin America Co-Production Forum.

The selected titles also include works from renowned filmmakers such as Argentina’s Santiago Loza and Bolivia’s Martin Boulocq, as well as emerging directors like Cuba’s Rosa Maria Rodríguez, Argentina’s Natalia Meta, Paraguay’s Pablo Lamar, and Mexico-based Natalia López Gallardo.

This year’s lineup is notably strong, driven by the appeal of the leading Latin American co-production event in Europe, rising production costs, and Argentina’s struggling film industry.

“She, Crocodile” is the first feature from the new production company South, founded by Alice Braga and Bianca Comparato. Directed by Amaral Almeida, known for 2017’s “Friendly Beast,” this movie stands out for its genre appeal.

“The Hedgehogs” marks the return of Victoria Galardi to filmmaking, 11 years after “I Thought It Was a Party.” The film, co-written with Fabian Casas, explores the painful process of separation as a couple takes a final seaside vacation with their son.

“Rambler” by Rondero and Valadez diverges from their previous settings in central Mexico, opting for multiple time periods to capture the chaotic vibrancy of Mexico City.

Four brief takes on the lineup and profiles of titles:

It’s Togetherness Time

Rosa María Rodríguez Pupo’s “Her Lightness” has multiple international production partners. Hernan Rosselli’s “Hard-Boiled School” involves seven international collaborators. Twelve of the 14 projects come with international co-producers already attached. The aim is to secure a range of partners to compensate for the dwindling minimum guarantees from sales agents.

Argentina: Challenges Spark Opportunity

Five out of the 14 Forum titles are from Argentina, highlighting a response to severe inflation and governmental distress. This shift towards multilateral co-production presents opportunities to engage with some of Latin America’s most talented filmmakers and producers.

Uruguay Emerges

Five Forum titles are co-produced with Uruguay, nearly as many as France’s six. As funding becomes an issue across Latin America, Uruguay has emerged as a film force, buoyed by a pro-film government and a reputation for high production standards.

Auteur Genre Fillip

In recent decades, Latin America’s arthouse cinema has drifted towards the mainstream. Titles like “She, Crocodile” and “Hard-Boiled School” are prominent in this genre, attracting foreign market interest.

And the lineup:

“Animales de Desierto” (aka “Animal Print,” Santiago Loza, Argentina, Brazil, Uruguay)

Set in a precolonial past, the film follows four characters dragging a wagon through the desert to execute revenge.

“A Different Garden” (“Otro jardín,” Mariana Gil Ríos, Colombia, France)

The film tells the story of 8-year-old Amanda who discovers hidden truths about her family during holidays at her grandfather’s home.

“The Hedgehogs” (“Los Erizos,” Victoria Galardi, Argentina, Uruguay)

A couple, on the verge of separation, takes a seaside holiday with their young son, exploring emotional and familial bonds.

“Hard-Boiled School” (“La escuela pesada,” Hernán Rosselli, Argentina, Austria, Uruguay, Brazil, Portugal, France, Chile, Peru)

A man, fresh out of a decade-long prison stint, finds himself responsible for a former partner’s daughter while planning a meticulous bank robbery.

“Her Lightness” (“La Levedad de Ella,” Rosa María Rodríguez Pupo, Cuba, Mexico, Colombia)

In an impoverished neighborhood, a woman battles cancer while determining her own fate.

“Mar de Leva” (Mariana Saffon, Colombia, France)

Facing her father’s imminent death, Elena confronts her desire to become a mother.

“Rambler” (Astrid Rondero, Fernanda Valadez, Mexico)

This film narrates the lives of three people on the brink of catastrophe in Mexico City.

“Remanso” (Pablo Lamar, Paraguay, Brazil, Uruguay, France)

Set during Paraguay’s Stroessner dictatorship, it follows a woman seeking justice after discovering a neighbor’s daughter was raped and murdered.

“She, Crocodile” (Gabriela Amaral Almeida, Brazil, Portugal)

A young heiress transforms into a deadly crocodile, exploring themes of violence, capitalism, and women’s issues.

“Solo el Amor Existe” (Natalia López Gallardo, México, U.S., France)

Following the Berlinale-winning “Robe of Gems,” López Gallardo presents her second feature, exploring profound themes and visual storytelling.

“The Spirit of the Law” (“El espíritu de la ley,” Natalia Meta, Argentina)

A congresswoman battles an accusation, reconsidering her political principles and goals.

“The Strange Woman” (“La Mujer Extraña,” Martin Boulocq, Bolivia, Uruguay)

Set during the lithium war in Bolivia, a Quechua teenager becomes a surrogate to escape poverty, triggering family conflict.

“Tropical Malaise” (“Malestar Tropical,” Jorge Cadena, Switzerland, France)

Queer activists and indigenous communities collaborate near Colombia’s largest coal mine, blending social and environmental themes.

“The Two Landscapes” (“Los dos paisajes,” Francisco Lezama, Argentina, Brazil)

A devout Catholic woman is forced to host her late tenant’s girlfriend and daughter, exploring religious and familial tensions.