05/04/2019 Chilean cinema returns to the 21st edition of the Buenos Aires International Festival of Independent Cinema

The Buenos Aires International Festival of Independent Cinema (BAFICI) is one of the most important cinematic encounters in the region, and from April 3rd to the 14th, it celebrates 21 editions of continued support to the growing Latin American audiovisual field.

The Buenos Aires engagement boasts a big Chilean presence, including the film Santiago, Italia by Nanni Moretti — a co-production between Pacte (France), Rai Cinema (Italy), and Storyboard Media (Chile) — the film responsible for closing the 11-day event. It’s a film that reconstructs the roll of the Italian Embassy in Santiago in the months following the 1973 coup d’état, particularly as asylum for hundreds of refugees opposing of the Pinochet dictatorship, offering the possibility to help them escape from the country.

Divine Love, Gabriel Mascaro

In addition are the films in the Trajectories category, where Divine Love, Siempre Sí, and Gloria Bell will participate. The Brazilian film Divine Love is directed by Gabriel Mascaro and co-produced between Uruguay, Denmark, Norway, and with Chilean production by Jirafa. The film takes place in the year 2027 in a dystopian Brazil, in the notary office where a deeply religious woman uses her position to conduct the mission of saving couples with difficulties from divorcing one another indefinitely. As she awaits a sign as recognition of her effort, she faces a crisis in her own marriage, which will ultimately bring her closer to God.

Meanwhile, there’s the film Siempre Sí, directed by writer and filmmaker Alberto Fuguet. In an interview with Culto de La Tercera, Fuguet explained, “The film was about the sexual awakening of a young Mexican man in the city, where he’s able to have experiences he hasn’t lived in his home province. It’s a tender porno film starring Mexican guys. It’s about a (gay) guy who goes to the city.” Likewise, the film Gloria Bell will be screened, a North American production directed by Chilean filmmaker Sebastián Lelio and co-produced by Fabula.

Zurita, verás no volver, by Alejandra Carmona

Another film to be screened at the Buenos Aires event is Zurita, verás no ver by Alejandra Carmona, a project that will participate in the Artists in Action section. It’s a documentary with a visual search surrounding one of the most significant Chilean poets both nationally and internationally. It’s an observational documentary and essay, which visually explores the ideas of body-earth, body-sky, body-illness, body territory of Chile, the desert, the sea, life, and death.

In the Avant-Garde and Genre section, two Argentine productions co-produced with Chile participate: Lands of the Sea by Azucena Losana, which is about Leonel Vásquez, who built a sound installation on a wooden boat, following an almost extinct tradition there. Through the speakers, the voices of artisan fisherman are heard narrating their conflicts with industrial fishing. And Shakti by Martin Rejtman, a short film that participated in the latest version of the Berlinale, and which, in 19 minutes, narrates the story of a 27-year-old Jewish man dealing with the death of his grandmother, depression, and his link to Hinduism.

Regarding the festival’s industry spaces, in the coming days, the Work in Progress section is also taking place, where the first cuts of seven first and second films are presented. Among them is the Chilean-Argentine-Peruvian co-production They All Come Back by María Paz González, produced by Maite Alberdi and Giancarlo Nasi.

Participating in the production Laboratory, a space that seeks to support emerging producers from Latin America with projects in an advanced stage of development, is Ars Culinaria by Álvaro Muñoz, produced by Elisa Sepúlveda.

They All Come Back by María Paz González




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