Impulso Morelia 5

The Impulso Morelia Section of the Morelia International Film Festival (FICM) presents an exclusive program of Mexican feature films in post production with the objective of offering international visibility to these projects and creating a space for the exchange of ideas between Mexican filmmakers and professionals of the global film industry. The third edition of Impulso Morelia will take place from October 20 to 22, as part of the 17th FICM.

Each year, Impulso Morelia selects feature films (documentary and fiction) that are in the stages of postproduction to be presented, by members of the crew, in closed screenings to experts of the industry. Programmers of national and international film festivals, critics, producers, distributors, and sales agents participate in this unique opportunity for direct and constructive dialogue about the chosen projects. Additionally, each edition of Impulso Morelia grants different awards and financial supports destined to contribute to the conclusion, promotion and circulation of the projects.


Impulso Morelia 5 selected projects were:

I Don’t Know (documentary)
Dir. Luis Kelly
Production company: Verdeespina Studios

Tania, 23, sometimes pressurized, sometimes melancholic, thoughtful and most, smiling and witty, tells her life with details that amaze the memory.

The Haunt of the Howl (fiction)
Dir. Julio Hernández Cordón
Production company: Un beso

An awkward self portrait starred by a young girl, joined by her father who whispers local stories in her ear, begging to be let drive her bike freely.

The Last Feathers (fiction, first time director)
Dir. Alejandro Alatorre
Production company: Real Human Cinema

Leonardo, a lonely 16-year-old teenager, walks the streets of the mysterious city where he lives, seeking freedom and emotions that make him feel alive, while facing the abandonment of the people he loves the most.

The Spokeswoman (documentary)
Dir. Luciana Kaplan
Production company: Mexcine S.A. de C.V.

The Spokeswoman narrates the trip of María de Jesús Patricio, the first indigenous woman to run for president in Mexico, revealing the nature and complexity of racism and gender discrimination in a changing society.

Santa Bárbara (fiction)
Dir. Anaïs Pareto Onghena
Production company: Santa Úrsula Films, Timber Films

Barbara is a Bolivian woman who has been in Barcelona for twelve years. She works as a maid and lives with her girlfriend Maribel. One day, her mother informs her that they have arrested Ulises, her eldest son, and Barbara decides to bring him to live with her.

Wilderness (documentary)
Dir. Everardo González
Production company: Artegios, Animal de Luz Films

This is a movie built from impericia, from misunderstanding, from surprise and mutual amazement; it is a film that reflects on the idea of community, the relationship of mankind with the environment in which nature, beasts and human beings depend on each other to continue inhabiting a barren land.

These titles will be screened exclusively to a film industry professional audience and to a panel of international experts summoned by the Morelia International Film Festival in order to create a unique space for reflection on the selected projects. Additionally, Impulso Morelia 5 grants important awards, both in kind and in cash, that will directly contribute to the conclusion, promotion and visibility of the proposals.

Curated by José María Riba, Impulso Morelia 5 will be held from October 20th to 22nd 2019, during the 17th edition of the Morelia International Film Festival.


  • I Don’t Know, by Luis Kelly (Produced by Verdeespina Studios). He obtained the Cinépolis Distribución Award, 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 for an advertising page in one of the issues of LatAm magazine with a value of USD $ 1,500, as well as an audio and video edition license granted by AVID.
  • The Spokeswoman, by Luciana Kaplan (Producción de Mexcine, SA de CV) | Honorific mention. Ambulante awarded $ 50,000 pesos in cash, destined to complete the post-production of the documentary, along with the offer to include it in a future edition of the Ambulante Documentary Tour. He also obtained the support of Estudios Churubusco Azteca, consisting of $ 800,000 pesos in THX sound and postproduction services (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, by Alejandro Alatorre (Production of Real Human Cinema). He obtained the support granted by the prestigious Splendor Omnia Studios that consists of a week of sound mixing and one more of color correction, with an approximate value of $ 200,000 pesos (not including the technicians’ fees).


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. The panel will be integrated by John Bailey (USA), Katrin Pors (Denmark), Alice Labadie (France), Jorge Michel Grau (Mexico), Jim Stark (USA), Alejandro Arenas (France) and Meinolf Zurhorst (Germany).

John Bailey. 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 Pors. 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. 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.

Jorge Michel Grau.

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.

Jim Stark. 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.

Alejandro Arenas. 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.

Meinolf Zurhorst. 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.