I don't know (Documentary), Dir. Luis Kelly | Production company: Verdeespina Studios
It received the Cinépolis Distribución Prize endowed with $250,000 pesos in cash to cover post-production and/or promotion processes and services. Additionally, this same project will enjoy a promotional campaign of a page of advertising in one of the issues of the LatAm cinema.com magazine worth USD$1,500, as well as an audio and video editing license granted by AVID.
La Vocera (Documentary), Dir. Luciana Kaplan | Production company: Mexcine S.A. of C.V.
Honorific mention. Ambulante awarded $50,000 pesos in cash, destined to complete the post-production of the documentary, together with the offer to include it in a future edition of the Ambulante Documentary Tour. It also obtained the support of Estudios Churubusco Azteca, consisting of $800,000 pesos in post-production services and THX sound (not including materials, operator fees or Dolby license and valid for two years). He also received an honorable mention from the jury.
The Last Feathers (Fiction, First Film) | Directed by Alejandro Alatorre | Production company: Real Human Cinema
He obtained the support granted by the prestigious Splendor Omnia Studios, which consists of one week of sound mixing and one more of color correction, with an approximate value of $200,000 pesos (not including technicians' fees).
No lo sé (Documental)
Director: Luis Kelly
Compañía productora: Verdeespina Studios
Tania, de 23 años, a veces presurosa, otras melancólica, pensativa y las más, sonriente e ingeniosa, cuenta su vida con detalles que asombran la memoria.
Se escuchan aullidos (Ficción)
Director: Julio Hernández Cordón
Compañía productora: Un beso
Un extraño autorretrato protagonizado por una niña, acompañada por su padre que le susurra al oído historias del lugar, que suplica la dejen andar en bici sin restricciones.
Las últimas plumas (Ficción, Primera Película)
Director: Alejandro Alatorre
Compañía productora: Real Human Cinema
Leonardo, un solitario adolescente de 16 años, camina las calles de la misteriosa ciudad en la que vive buscando la libertad y las emociones que lo hagan sentirse vivo, al tiempo que se enfrenta al abandono de las personas a quienes más ama.
La vocera (Documental)
Director: Luciana Kaplan
Compañía productora: Mexcine S.A. de C.V.
La Vocera narra el viaje de María de Jesús Patricio, la primera mujer indígena en postularse a la presidencia de México, revelando la naturaleza y la complejidad del racismo y la discriminación de género en una sociedad cambiante.
Santa Bárbara (Ficción)
Director: Anaïs Pareto Onghena
Compañía productora: Santa Úrsula Films, Timber Films
Bárbara es una boliviana que lleva doce años en Barcelona, trabaja como empleada doméstica y vive con su chica Maribel. Un día su madre le informa que han detenido a Ulises, su hijo mayor, y Bárbara decide traerlo a vivir con ella.
Director: Everardo González
Compañía productora: Artegios, Animal de Luz Films
Esta es una película construida desde la impericia, desde la incomprensión, desde la sorpresa y el asombro mutuo; es una película que reflexiona en torno a la idea de comunidad, a la relación del hombre y su entorno en el que la naturaleza, bestias y seres humanos dependen de cada uno para seguir habitando un mundo que se supone yermo.
The Morelia International Film Festival has brought together an international experts’ panel that will analyze with strict, constructive and respectful spirit all the proposals included in Impulso Morelia 5, and will establish a useful dialogue with their creators.
John Bailey’s 50-plus-year career in motion pictures includes his cinematography of mainstream Hollywood films such as Ordinary People (1980), by Robert Redford; The Big Chill (1983), Silverado (1985) and The Accidental Tourist (1988), by Lawrence Kasdan; Groundhog Day (1993), by Harold Ramis; In the Line of Fire (1993), by Wolfgang Petersen, As Good as It Gets 1997), by James L. Brooks, Sisterhood of the Traveling Pants (2005) and A Walk in the Woods (2015), by Ken Kwapis and The Way Way Back (2013), by Jim Rash and Nat Faxon, and, as well as such offbeat fare as Tough Guys Don’t Dance (1987), by Norman Mailer, That Championship Season (1982), by Jason Miller, Swimming to Cambodia (1987), by Jonathan Demme, A Brief History of Time (1991), by Errol Morris; and The Kid Stays in the Picture (2002), by Brett Morgen and Nanette Burstein. John was president of the Academy of Motion Picture Arts and Sciences from 2017 to 2019 and has served as governor of the cinematographers’ branch for 15 years. He is on the Board of Governors of the American Society of Cinematographers, as well as on the Library of Congress’s National Film Preservation Board.
Katrin is a Danish producer known for building bridges between Latin America and Northern Europe. She has more than ten years’ experience working as a producer, executive, and co-producer on numerous projects with some of the most esteemed directors in the contemporary art house scene, such as Amat Escalante, Annemarie Jacir, Joachim Trier, Carlos Reygadas, and Ralitza Petrova. Her latest work includes the film that inaugurated the fiftieth edition of Directors’ Fortnight at Cannes, Birds of Passage (2018), directed by Ciro Guerra and Cristina Gallego; the Directors’ Fortnight co-production Petra (2018), by Jaime Rosales; the Sundance premiere Monos (2019), by Alejandro Landes; and White, White Day (2019), by Hlynur Palmason. Pors is among the founders of the Copenhagen-based production company Snowglobe.
Alice Labadie has worked for five years as a buyer at Le Pacte, a director-driven French distribution and international sales company. Le Pacte’s latest titles include I, Daniel Blake (2016), by Ken Loach; Shoplifters (2018), by Hirokazu Kore-eda; The Florida Project (2017), by Sean Baker; and El reino (2018) and Madre (2017), by Rodrigo Sorogoyen. Labadie has also worked on the sets of films such as Birds of Passage (2018), by Ciro Guerra and Cristina Gallego.
His debut feature Somos lo que hay (We Are What We Are) (2010) competed for the Caméra d’Or at Cannes in 2010 (42nd Director’s Fortnight) and won the Silver Hugo Special Jury Prize at the Chicago International Film Festival, the Séquence Prize to Best Film Feature at the Fantasia International Film Festival in Montreal, and Best “Next Wave” Film and Screenplay at the Fantastic Fest in Austin, Texas, among others. He directed Chalán (Gofer), produced by Canal 22 and IMCINE, and 72, produced by Juan José Campanella and Canana. In 2016, he premiered 7:19, the first Mexican film to have an international Netflix release. In 2019, he will premiere his latest film, Perdida, produced by Dynamo Colombia and Urujuru México.
American producer. Stark has funded, developed, produced, and sold feature films since 1983. He has worked with Jim Jarmusch, Alex Rockwell, Gregg Araki and Adrienne Shelly, among many others. He co-wrote and co-produced Cold Fever (1995), alongside Fridrik Thor Fridriksson; Factotum (2005), alongside Bent Hammer; and Mirage (2014), alongside Szabolcs Hajdu. He has recently been associated with Tempestad (2016), directed by Tatiana Huezo; The Untamed (2016), by Amat Escalante; Our Time (2018), by Carlos Reygadas; and Foxtrot (2017), by Samuel Maoz.
Of Spanish origin, Alejandro Arenas has worked in France since 2011. In 2012, having previously worked at Les films du Bélier, he joined Sylvie Pialat and Benoît Quainon’s team at the production company Les films du Worso. He has taken part in over 20 films, including Stranger by the Lake (2013), directed by Alain Guiraudie, and Timbuktu (2014), by Abderrahmane Sissako. In recent years, he has become the company’s head of international productions. Within this role, he has coordinated the French executive production of Quién te cantará (2018), by Carlos Vermut, and of The Whistlers (2019), by Corneliu Porumboiu, screened in competition at the latest Cannes. Since 2018, Arenas has been a member of the French CNC’s Cinémas du Monde commission under its president Charles Tesson.
After studying history of art, film and television and anthropology he worked as a film critic and author of almost 20 books about cinema and actors. He co-founded a production company which produced special interest programs for German TV as well as a company for post- and film-production. Co-writer, director and producer of several documentaries about German cinema and TV. In 1992 he was commissioning editor in the cinema department of ARTE in Strasbourg and, in 1994, head of this department. In 2000 he moved to German broadcaster ZDF to direct their ARTE film department and since 2017 he was head of fiction ZDF/arte. Member of juries in Guadalajara, Sarajevo, Sao Paulo, Thessaloniki, Tallinn, Istanbul and other festivals. Tutor and expert at Mediterranean Film Business School, EAVE, ACE-Ateliers du Cinéma Européen, International Film School Cologne and Bela Tarr’s Film Factory. Since February 2019, Meinolf is consultant, lecturer, tutor and producer.
At FICM we are constantly creating content for the festival, talks, expositions and, workshops. We want to invite you to be part of our community.