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Impulso Morelia 6

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Los amantes

Los amantes se despiden con la mirada (ficción)

Dir. Rigoberto Perezcano

Compañía productora: Tiburón Filmes

Leobardo, un padre que vive en el valle de Oaxaca junto con su hijo Olivo de once años enfrenta con temor su muerte inminente. Por esta razón, Leobardo emprende un viaje iniciático para su hijo. Años más adelante, el ánima de Leobardo acompañará a Olivo en su vida adulta, como testigo silencioso de sus vivencias y pasiones en la tierra.

Cruz

Cruz (documental)

Dir. Teresa Camou Guerrero

Producción: Teresa Camou Guerrero, Jenny Mügel

Cruz, un indígena rarámuri de la Sierra Tarahumara en México, y su familia fueron despojados de sus tierras por el narcotráfico al rehusarse a cambiar la siembra de maíz por la de amapola. Desde entonces viven desplazados y amenazados de muerte, buscando desesperadamente justicia para poder regresar a su lugar de origen.

Dante y Soledad

Dante y Soledad (ficción, primera película)

Dir. Alexandra de la Mora

Compañía productora: Películas Bomba, Woo Films

Inés deja de trabajar para dedicarse por completo a su primera hija, porque a diferencia de su propia madre, ella sí quiere estar presente.  La falta de sueño y la demanda apremiante de Layla crean confusión. Su marido intenta acompañarla, pero el único espacio donde Inés encuentra refugio es en su acuario. La tensión entre la vida perdida y el futuro incierto la obligan a decidir entre el barco que naufraga y el camino de su nueva identidad.

Mamá

Mamá (documental, primera película)

Dir. Juan Antonio Méndez Rodríguez

Compañía productora: Terra Nostra Films

Como mexicano tsotsil crecí entre la sacralidad de la Virgen de Guadalupe y de la madre tierra, como hijo de madre soltera crecí entre burlas por no tener un padre y culpando a mi madre de ello; crecí entre la adoración y el desprecio a la madre. Mamá es un diálogo entre madre e hijo que exploran sus contradicciones; que se conocen y se reconocen, que reflexionan sobre la violencia naturalizada y su reproducción. El ser y hacernos familia.

Travesías

Travesías (ficción)

Dir. Sergio Flores Thorija

Compañía productora: Leap of Faith Cine

Alejandra y Víctor viven bajo circunstancias contrastantes en una ciudad que se encuentra artificialmente dividida en dos por un muro: Tijuana y San Diego. Cada uno tiene en mente un plan definido para su futuro pero una tragedia los obliga a embarcarse en una travesía hacia el otro lado de sus respectivas fronteras, este viaje los lleva a reflexionar acerca de sus orígenes e identidad.

Los vecinos

Los vecinos (ficción)

Dir. Diana Cardozo

Compañía productora: Agalma, Foprocine IMCINE

Luis ve el asesinato de sus vecinos y la indiferencia de los demás.  El saqueo a la casa de las víctimas. La mezquindad de su padre quien se apropia de un sillón.  Padre e hijo intentarán venderlo en otro pueblo. Hay que atravesar la montaña en bicicleta tirando de un carrito con el sillón.  En pocos días, Luis asiste al misterio de la muerte, la fragilidad de los adultos, la maravilla del tiempo, los aprendizajes de la masculinidad.

Cartas a distancia

Cartas a distancia (documental) *

Dir. Juan Carlos Rulfo

Compañía productora: La Media Luna, Península Films

En el Hospital 27 en Tlatelolco, los contagiados de COVID-19 son aislados y pierden todo contacto con el exterior. Por ello, un grupo de enfermeros desarrollan un sistema para intercambiar cartas y videos que acercarán a los enfermos con sus familias donde reflexionan sobre sus vidas, las oportunidades, la pandemia y el amor, abriendo a través de las palabras una puerta a la esperanza.

No compite por el Premio José María Riba

EXPERTS’ PANEL IMPULSO MORELIA 6

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Bertha Navarro

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 CronosThe Devil’s Backbone and Pan’s Labyrinth by Guillermo del ToroCabeza de Vaca by Nicolás EchevarríaUn Embrujo by Carlos CarreraLa 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.

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Jorge Fons

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.

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Vicente Canales

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.

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Eugenio Caballero

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 RomaSebastián Cordero (CrónicasRabia 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 WattsEwan 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.

Impulso Morelia 6 Winners

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.