{"id":86627,"date":"2025-10-20T12:36:15","date_gmt":"2025-10-20T12:36:15","guid":{"rendered":"https:\/\/www.newsbeep.com\/il\/86627\/"},"modified":"2025-10-20T12:36:15","modified_gmt":"2025-10-20T12:36:15","slug":"culebra-cut-false-positive-houses-are-silent-set-for-ventana-sur","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/il\/86627\/","title":{"rendered":"‘Culebra Cut’ ‘False Positive’ ‘Houses Are Silent’ Set for Ventana Sur"},"content":{"rendered":"

\n\tAna Elena Tejera\u2019s \u201cCulebra Cut,\u201d Theo Montoya\u2019s \u201cFalse Positive\u201d and Roxana Stroe\u2019s \u201cHouses Are Silent\u201d feature among the lineup at the upcoming Proyecta<\/a> co-production platform, running\u00a0\u00a0during early December\u2019s Ventana Sur<\/a> 2025 in Buenos Aires.<\/p>\n

\n\tNow on its 8th edition, Proyecta \u2014 a joint initiative between Ventana Sur, Cannes\u2019 March\u00e9 du Film and the San Sebasti\u00e1n Film Festival \u2014 showcases 12 new features, all first or second films, confirming its reputation as one of Latin America\u2019s key gateways to Europe.<\/p>\n

\n\tAmong this year\u2019s highlights, \u201cCulebra Cut\u201d unites Panama\u2019s Mestizo, France\u2019s Fulgurance and Capicua Films from Chile in one of the strongest international alliances of the selection. The project has just added Arte France Cin\u00e9ma as a co-producer, following a path that already includes selection for the Torino Feature Lab, Venice Production Bridge and Ibermedia support.<\/p>\n

\n\t\u201cFalse Positive\u201d marks a step-up for Theo Montoya, building on the success of his award-winning doc hybrid \u201cAnhell69.\u201d His company Desv\u00edo Visual leads a four-country co-production with Parcelles Films in France, Spain\u2019s Amore and Netherlands\u2019 Baldr. Backed by Cannes Cin\u00e9fondation and Rotterdam\u2019s Hubert Bals Fund, the project arrives in Buenos Aires with festival buzz and strong market momentum.<\/p>\n

\n\t\u201cHouses Are Silent,\u201d which earned its Ventana Sur invitation at San Sebasti\u00e1n\u2019s Europe\u2013Latin America Co-Production Forum, extends Bucharest-based Atelier de Film\u2019s reach through a Romania\u2013Bolivia partnership. Gabi Suciu\u2019s company has produced San Sebasti\u00e1n Golden Shell 2021 winner \u201cBlue Moon,\u201d and Cannes Directors\u2019 Fortnight player \u201cWhen Night Meets Dawn.\u201d \u00a0<\/p>\n

\n\tRunning Dec. 1-5, this year\u2019s Ventana Sur will see Proyecta filmmakers tackle political ghosts, ecological loss and personal reinvention. Several projects blend hybrid aesthetics \u2014 animation, performance, archival material \u2014 with a storytelling precision aimed at both festivals and buyers.<\/p>\n

\n\tProyecta also offers incentives designed to fast-track production and visibility. The San Sebasti\u00e1n Film Festival Invitation grants two producers accreditation, accommodation and access to the festival\u2019s industry activities. The Sideral Cinema Award ensures a \u20ac10,000 ($11,634) pre-buy for one project\u2019s international rights, while the S\u00f8rfond Pitching Forum Award will take one producer to Norway\u2019s 2026 S\u00f8rfond Pitching Forum, with travel and accommodation covered.<\/p>\n

\n\tThe 2025 Proyecta projects selection:\u00a0<\/p>\n

\n\t\u201cThe Boa and the Bamboo\u201d (Maitane Carballo Alonso; Spain, Switzerland)<\/p>\n

\n\tSet deep in Brazil\u2019s Maranh\u00e3o region, the film follows an Aw\u00e1-Guaj\u00e1 couple who adopt an orphaned monkey as sacred kin while their forest is devoured by industry. Drawing on Indigenous cosmology and blending animation with oral storytelling, it explores resilience amid ecological collapse. Produced by the Basque Country\u2019s Gariza Films (\u201c20,000 Species of Bees\u201d) in collaboration with Swiss company MediaFisch, the project played at San Sebasti\u00e1n\u2019s Europe\u2013Latin America Co-Production Forum 2025.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tThe Boa and the Bamboo<\/p>\n

\n\t\u201cCulebra Cut\u201d (\u201cCorte Culebra,\u201d Ana Elena Tejera; Panama, France, Chile)<\/p>\n

\n\tTejera reimagines Panama\u2019s hidden history through a feverish odyssey in the former U.S. Canal Zone, where ghosts of the displaced linger in the jungle. With Arte France Cin\u00e9ma now on board, the project is also backed by CNC, Ibermedia and the World Cinema Fund. Chile\u2019s Capicua Films has joined as a minority partner. Tejera\u2019s camera drifts between the political and the dreamlike. \u201cThe film moves through low-lit spaces where latent violence rubs against tenderness,\u201d she notes.<\/p>\n

\n\t\u201cFalse Positive\u201d (\u201cFalso Positivo,\u201d Theo Montoya; Colombia, France, Spain, Netherlands)<\/p>\n

\n\tFollowing the acclaimed \u201cAnhell69,\u201d Montoya delves into Colombia\u2019s darkest chapter with a poetic reconstruction of the \u201cfalse positives\u201d killings. Produced by Desv\u00edo Visual with Parcelles, Amore and Baldr, the film blends memory, mourning and surrealism. \u201cI don\u2019t want to tell what we already know. I want the audience to feel what still hasn\u2019t been understood,\u201d Montoya says. Supported by the Cannes Film festival\u2019s Cin\u00e9fondation residency program and the Hubert Bals Fund.<\/p>\n

\n\t\u201cGod\u2019s Favorite Girl\u201d (Diego Ulloa Alvear; Spain, Ecuador)<\/p>\n

\n\tA 16-year-old girl invents Marian apparitions to cope with her parents\u2019 divorce \u2014 only to trigger a nationwide religious frenzy. The dark comedy marks a further international step for Spain\u2019s Funicular Films, the label behind acclaimed series \u201cThis Is Not Sweden.\u201d Co-produced with Abaca Films in Ecuador, it won top honors at ESCAC\u00a0Opera Prima Lab and Guadalajara\u2019s BDC Award. \u201cA satire about faith, fame and the absurdity of modern belief,\u201d says producer Marta Bald\u00f3.<\/p>\n

\n\t\u201cGoodbye, Boys\u201d (\u201cAdeus, meninos,\u201d Sacha Amaral; Brazil, Portugal)<\/p>\n

\n\tDescribed as a lyrical journey through fractured childhood, Amaral\u2019s debut follows two brothers navigating unstable homes after their mother\u2019s death. Developed at the Sam Spiegel Film Lab in Venice, the project blends social realism with visual poetry and, its makers say, an emotional precision. \u201cI\u2019m drawn to explore the justice of childhood, how kids perceive cruelty and affection,\u201d Amaral says. Co-produced by Brazil\u2019s Quadrophenia Films and Portugal\u2019s Crim.<\/p>\n

\n\t\u201cHermosa no es como antes\u201d (Kattia G. Z\u00fa\u00f1iga; Costa Rica, Chile)<\/p>\n

\n\tA second Costa Rican project, in which Paz feels the heat of the tropics, perimenopause and contained anger \u2014 all at once. That inner fire pushes her to dance, shout and set boundaries in her life and in the privileged beach community she inhabits, a beautiful place stifled by tourism. Presented at Cin\u00e9latino Toulouse under the title \u201cRabiosa\u201d and at Tres Puertos Panam\u00e1, the project has backing from both Costa Rican and Chilean cultural funds.<\/p>\n

\n\t\u201cHouses Are Silent\u201d (Roxana Stroe; Romania, Bolivia)<\/p>\n

\n\tIn a secluded Bolivian Mennonite colony, a 16-year-old girl becomes pregnant after an assault she can barely recall. Developed by Atelier de Film, the project won its Ventana Sur invitation at the San Sebasti\u00e1n\u2019s Europe\u2013Latin America Co-Production Forum. \u201cSilence can protect tradition but also hide pain,\u201d Stroe says.<\/p>\n

\n\t\u201cLove & Rebellion\u201d (Sarah Miro Fischer; Germany, Colombia)<\/p>\n

\n\tIn Colombia, an 18-year-old visits her estranged mother \u2014 a former guerrilla turned bride-to-be \u2014 hoping to find a revolutionary heroine but instead encounters silence, regret and love unspoken. Produced by Unafilm in Germany, the film explores the spaces between memory and myth, fear and responsibility, and what it means to grow up in the shadow of unfinished ideals, its backers say.<\/p>\n

\n\t\u201cThe Lovers Who Didn\u2019t Know Too Much\u201d (\u201cLos amantes que no sab\u00edan demasiado,\u201d Baltasar Albrecht, Gast\u00f3n del Porto; Argentina)<\/p>\n

\n\tA Paran\u00e1 River trip turns fatal when a body falls onto a couple\u2019s boat, pulling them into a spiral of guilt and obsession. Produced by MuchaSiesta with El Cielo Cine, and backed by the Argentine INCAA\u2019s 2024 Feature Award, the project is \u201ca love letter to \u201970s genre films \u2014 an auteur thriller built over curiosity, coincidence and danger,\u201d says producer Arturo Castro Godoy.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tThe Lovers Who Didn\u2019t Know Too Much<\/p>\n

\n\t\u201cMichael M.\u201d (Laura Bierbrauer; Germany, Argentina)<\/p>\n

\n\tTwo souls separated by time \u2014 a 1930s exiled writer and a modern artist \u2014 find each other through a book that transcends eras, interlacing memory and imagination in a reflection on exile, creativity and longing. The film extends Nabis Film Berlin\u2019s cross-continental mission, joining producers Iris Janssen, Lukas Valenta Rinner and Yael Svoboda. Supported by Germany\u2019s BKM Fund.<\/p>\n

\n\t\u201cThe Other Voice\u201d (\u201cLa otra voz,\u201d Agustina P\u00e9rez Rial; Argentina, Spain, France)<\/p>\n

\n\tDrawing from an unseen private archive, the film crafts an intimate portrait of Mercedes Sosa, Latin America\u2019s legendary protest singer. Letters and photographs from her exile years reveal a woman caught between fame and displacement. Co-produced by Gaman Cine, Fi\u00f8rd Studio and Lorolo and supported by the IDFA Bertha Fund.<\/p>\n

\n\t\u201cSpells to Revive a Witch\u201d (\u201cHechizos para revivir una bruja,\u201d Natalia Sol\u00f3rzano V\u00e1squez; Costa Rica)<\/p>\n

\n\tA casting call to portray a 1960s fortune teller turns into a ritual of remembrance in Sol\u00f3rzano\u2019s debut. The film explores how women reclaim erased histories through reenactment and imagination. Supported by the Costa Rican Film Fund, DocLisboa\u2019s Arch\u00e9 and the Rueda Residency, it reflects Sputnik Films\u2019 focus on hybrid, auteur-driven cinema. Producer Mariana Murillo calls it \u201ca film about memory as performance \u2014 where remembering itself becomes a political gesture.\u201d<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tSpells to Revive a Witch<\/p>\n","protected":false},"excerpt":{"rendered":"Ana Elena Tejera\u2019s \u201cCulebra Cut,\u201d Theo Montoya\u2019s \u201cFalse Positive\u201d and Roxana Stroe\u2019s \u201cHouses Are Silent\u201d feature among the…\n","protected":false},"author":2,"featured_media":86628,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8],"tags":[146,85,46,59520,59521],"class_list":["post-86627","post","type-post","status-publish","format-standard","has-post-thumbnail","category-entertainment","tag-entertainment","tag-il","tag-israel","tag-proyecta","tag-ventana-sur"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/86627","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/comments?post=86627"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/86627\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media\/86628"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media?parent=86627"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/categories?post=86627"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/tags?post=86627"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}