Huelva Competition Throws the Spotlight on Latin American and Portuguese Titles Which Demand Far More Media Attention; Here’s Why
10.11.2023 - 19:10
/ variety.com
John Hopewell Chief International Correspondent There’s “an enormous amount of fresh talent coming through, and those new voices, that for the most part don’t come from the U.S.,” CAA Media Finance’s said at San Sebastian’s Creative Investors Conference this September. Getting noticed ia another matter. Global content spend has near doubled in a decade, from $136 billion in 2013 to $250 billion this year, according to Ampere Analysis.
The same cannot be seen of media coverage of new movies. Quite the reverse: At most outlets, it has radically declined. Enter Huelva.
They also often announce undoubted new talent to track, as Latin America has built film schools and passed film laws, creating a seemingly bottomless well of new talent. Also taking in Luis Mandoki’s 17th fiction feature, Daniela Goggi’s fourth the second and third respectively from Renée Nader Messora and João Salaviza, Huelva’s 12 competition movies have very often won significant prizes at prominent festivals, and yet demand far more media attention. Below, Variety explains why: “Adolfo,” (Sofía Auza, Mexico, U.S.) Auza’s auspicious debut, produced by Fremantle-backed The Immigrant and made in a U.S.
indie tradition, quirkily charting the meeting of Hugo and Momo, both vulnerable from recent tragedy, who meet at a bus stop and spend the night talking. “Sofia paints a world where pain very much exists but is mitigated by the warmth of human connection,” say The Immigrant’s Camila Jiménez-Villa and Silvana Aguirre. “Almamula,” (Juan Sebastián Torales, Argentina, France, Italy) Moved with his family after a homophobic attack to a hamlet in Argentina’s deep North-West, Nino is a gradually attracted – out of shame, guilt and budding erotic desire – to the
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