The José María Riba Award bestowed by Cinépolis Distribución consists in a cash incentive of $150,000 MXN destined to post-production services and/or promotion. This incentive will be awarded by the international experts’ panel and will be delivered no later than June 2022.
Specialized information web portal LatAm cinema.com offers to the winner of the José María Riba Award a promotional campaign, which includes one advertising page in one of the magazine’s numbers, with an approximate cost of USD$1,500.
Icunacury Acosta & Co. offers a year of accompaniment in public relations.
José María Riba Award Winner: CRUZ, by Teresa Camou
Estudios Churubusco will give an award of $800,000 MXN in post-production and TXH sound services to one of the projects. This support does not include materials, operators and Dolby license. It is valid for two years, starting from the date granted.
Winner: LOS AMANTES SE DESPIDEN CON LA MIRADA, by Rigoberto Perezcano
The post-production studio Splendor Omnia will give an award consisting in one week of sound mix and another of color correction, with an approximated value of $243,000 MXN. This support does not include accommodation expenses nor technicians fees. It is valid for two years, starting from the date granted.
Winner: CARTAS A DISTANCIA, by Juan Carlos Rulfo.
LOS AMANTES SE DESPIDEN CON LA MIRADA (ficción)
Dir. Rigoberto Perezcano
Production Company: Tiburón Filmes
Leobardo, a father who lives in the valley of Oaxaca with his eleven-year-old son Olivo, faces his imminent death with fear. For this reason, Leobardo embarks on an initiation journey for his son. Years later, the soul of Leobardo will accompany Olivo in his adult life, as a silent witness of his experiences and passions on earth.
Dir. Teresa Camou Guerrero
Production: Teresa Camou Guerrero, Jenny Mügel
Cruz, a Rrámuri indigenous from the Sierra Tarahumara in Mexico, and his family were dispossessed of their lands by narco after refusing to change their corn crop to poppy. Since then, they have been displaced and received death threats, desperately seeking justice to be able to return to their place of origin.
DANTE Y SOLEDAD (ficción, primera película)
Dir. Alexandra de la Mora
Production Company: Películas Bomba, Woo Films
Inés stops working to dedicate herself to her first daughter completely hoping to, unlike her own mother, be present. Lack of sleep and Layla’s pressing demand create confusion. Her husband tries to be there for her, but the only space where Inés finds refuge is in her aquarium. The tension between the lost life and the uncertain future force her to decide between the sinking ship and the path of her new identity.
MAMÁ (documental, primera película)
Dir. Juan Antonio Méndez Rodríguez
Production Company: Terra Nostra Films
As a Tsotsil Mexican I grew up between the sacredness of the Virgin of Guadalupe and Mother Earth, as the son of a single mother I grew up between ridicule for not having a father and blaming my mother for it; I grew up between adoration and contempt for the mother. Mom is a dialogue between mother and son which explores their contradictions; that they know and recognize each other, that they reflect on naturalized violence and its reproduction. Being and becoming family.
Dir. Sergio Flores Thorija
Production Company: Leap of Faith Cine
Alejandra and Víctor live under contrasting circumstances in a city that is artificially divided by a wall: Tijuana and San Diego. Each one has a definite plan in mind for their future, but a tragedy forces them to embark on a journey to the other side of their respective borders, which leads them to reflect on their origins and identity.
LOS VECINOS (ficción)
Dir. Diana Cardozo
Production Company: Agalma, Foprocine IMCINE
Luis sees his neighbors’ murder and the everybody’s indifference about it. The looting their home. The pettiness of a father who steals an armchair. Father and son will travel to another town to sell it. Crossing the mountain by bike and pulling a cart with the armchair in it. In a few days, Luis learns about the mystery of death, the fragility of adults, the wonder of time and the meaning of masculinity.
CARTAS A DISTANCIA (documentary) *
Dir. Juan Carlos Rulfo
Production Company: La Media Luna, Península Films
At Hospital 27 in Tlatelolco, those infected with COVID-19 are isolated and lose all contact with the outside. For this reason, a group of nurses developed a system to exchange letters and videos that will bring patients closer to their families where they reflect on their lives, opportunities, the pandemic and love, opening a door to hope through words.
* Not in competition for the José María Riba Award
These feature films will be presented to a panel of industry experts that FICM has convened in order to create a space for reflection on the chosen projects. Additionally, different recognitions and support will be granted that seek to contribute directly to the conclusion, promotion and visibility of the proposals.
A promoter of Ibero-American cinema, she began her film career in documentary filmmaking at the end of the sixties and, soon after, directed her work as a producer to fiction. In 1972, she began filming her first feature film: Reed, México Insurgente, directed by Paul Leduc and one of the first independent films in Mexico. The movie was awarded the Georges Sadoul award in France, Directors’ Fortnight at Cannes in 1973. Since then she has produced important films in the history of Ibero-American cinema, including Cronos, The Devil’s Backbone and Pan’s Labyrinth by Guillermo del Toro, Cabeza de Vaca by Nicolás Echevarría, Un Embrujo by Carlos Carrera, La Fiebre del Loco by Andrés Wood and Crónicas by Sebastián Cordero. She recognised and supported talent in numerous debut films. Her films have traveled the world of international festivals and many of them have earned important awards.
Her conviction that the primary role of cinema is to tell a good story, she has made the Laboratory of Cinematographic Scripts a possibility. This collaboration between the Sundance Institute, the Guadalajara International Film Festival and the Morelia International Film Festival has helped many talented Mexican and Latin American directors and scriptwriters with their work. She also created the Music for Film Lab and in 2012, she started the Actor-Director Lab, where directors have the opportunity to explore their work with actors in-depth.
As a tribute and recognition to her extensive and notable career in Ibero-American cinema, the Guadalajara International Film Festival awarded her the Mayahuel de Plata in 2008. Among other accolades, she received the Ariel de Oro from the Academy of Arts and Cinematographic Sciences in 2015, as well as El Coral from the Havana Festival in 2018.
Bertha Navarro has served as a jury in numerous film festivals, including the Locarno Film Festival, Lima Film Festival and the Guadalajara International Film Festival, among others.
Mexican filmmaker with a celebrated career in which the following films stand out: Nosotros (Ariel as Best Director), Los Cachorros (Best Foreign Film by the New York Association of Cinematographic Journalists), Caridad (Diosa de Plata “Francisco Pina”), Los Albañiles (Silver Bear Best Director at the Berlin Film Festival), Así es Vietnam (Gold Lotus in Hanoi, Coral de Plata from the Havana Festival, Ariel de Plata), Rojo Amanecer (Special Jury Prize at the San Sebastián Festival, nine Ariel Awards including Best Film and Best Director and three Silver Goddesses) and El Callejón de los Milagros, which, among many other distinctions, won the Goya for Best Spanish-Speaking Foreign Film, the Silver Spike for Best Director at the Valladolid Festival in Spain, a Special Mention at Berlinale, the Audience Award of the Chicago Film Festival and eleven Ariel Awards, including Best Film and Best Director.
Jorge has been a Fellow of the National System of Art Creators, CONACULTA, and the John Simon Guggenheim Memorial Foundation. He has received numerous distinctions, including the Medal of Merit awarded by the Mexican Society of Directors, the Ariel de Oro for his professional trajectory, the National Prize for Sciences and Arts and the Ingmar Bergman Chair Medal awarded by UNAM.
In addition to his artistic work being the focus of tributes and retrospectives at various international film festivals (Guadalajara, Guanajuato, Havana, Bogotá, Trieste, Marseille, Toulouse, Huelva, Valladolid), Jorge Fons has been a judge in multiple competitions and has taught classes and workshops in filmmaking at various film schools both in Mexico and abroad.
Vicente Canales started his career in 1998 at the Spanish distribution, production and sales company, Filmax. He gained experience in development and marketing, finally discovering his vocation in the international sales department, where he was in charge of selling the Rec franchise, The Machinist by Brad Anderson and many more.
Over the following years, he acquired a deep knowledge of the industry and, in 2010, Canales left Filmax to start his own company, Film Factory Entertainment, soon achieving a leading position in the international sale of Spain’s most important productions.
Film Factory Entertainment is an independent international sales agency based in Barcelona, Spain. The company works with a selective slate, choosing Spanish films with the highest international potential and also collaborating with Europe and Latin America’s most prominent production companies.
Academy Award winning production designer of Guillermo de Toro’s Pan’s Labyrinth. Eugenio’s work on the film also earned him an Ariel Award, as well as the Art Directors’ Guild Award (the most prestigious award in his field), Los Angeles Film Critics Association Award, the Gold Derby Award” the Online Film Critics Association, Goya, Satellite, Las Vegas Film Critics Society Award and BAFTA Award nominations.
Born in Mexico City and after studying History of Art and History of Cinema in Florence, Italy, Caballero began his career as a production designer in Mexico, with award-winning work on music videos (MTV award) and short films. Soon he started to work in feature films as an assistant, and a set decorator.
Eugenio Caballero’s credits include near 30 films, 20 of them as a designer. He has worked with directors Jim Jarmusch (The Limit of Control), Baz Lurthman (Romeo and Juliet), Alfonso Cuarón‘s Roma, Sebastián Cordero (Crónicas, Rabia and Europa Report), Floria Sigismondi (The Runaways), Claudia Llosa (Aloft), Fernando Eimbcke (Club Sandwich), Carlos Cuarón (Rudo y Cursi), Russel Mulcahy (Resident Evil Extinction), among others.
His first collaboration with J.A.Bayona on The Impossible, starring Naomi Watts, Ewan MacGregor and Tom Holland, earned him a Goya nomination and an Art Directors Guild nomination in 2013.
In 2014 Eugenio designed the Paralympic Opening Ceremony of the Sochi Winter Olympics, for director Daniele Finzi, with whom he had also collaborated with the Cirque du Soleil in the show Luzia in 2016.
In 2015 and 2016 he worked on the film A Monster Calls directed by J.A. Bayona, based on the multi awarded book by Patrick Ness which earned him a Goya on his third nomination to this award. He received the Gaudi Award, the Fenix Award and the Platino Award for the same film.
In 2017-2018 he designed the film Roma working alongside with the director Alfonso Cuarón, for this work he has ea rned multiple international awards and nominations, including the Critics Choice Awards, the Art Directors’ Guild, the BAFTAs and the Academy Award. Eugenio Caballero has been nominated seven times for the Ariel award -Mexico’s main film award – from which he has won two.
Eugenio has served as a Jury member on numerous international festivals and he is a member of the AMPAS (Academy of Motion Picture Arts and Sciences), the Mexican and Spanish film academies.
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