Buzzy titles such as “Guián,” “Rhinoceros” and “Of Books and Women I Sing” are among the 14 titles at Málaga’s extensive WIP showcase, a springboard in the past for the discovery of titles such as Spanish horror thriller “The Platform” which, winning the Latido Films Prize at WIP, has gone on to become the second most-watched non-English language movie ever on Netflix.
Awarded the biggest plaudit at last year’s Malaga WIP, Adrián Silvestre’s “My Emptiness and I” made a splash at February’s Rotterdam Festival and now competes at Málaga.
In a 2022 spread of titles presented over March 22-25, six hail from Spain and eight from Latin-America
In addition to the Málaga Film Festival award, private-sector prizes from Aracne Digital Cinema, Damita Joe, Latamcinema.com, Latido Films, Music Library, Yagán Films– are also at stake.
The Spanish section’s jury comprises Madrid Film School’s Luis Ferrón, Quatre Films producer Alejandra Mora and Joana Gusmão, DocLisboa co-director.
Jury members for the Latin America section are Pamela Biénzobas, a Locarno selection committee member, Cup Filmes producer Iván Carlos De Melo and Antoine Sebire, general delegate at the Biarritz Latin America Festival.
2022 Málaga WIP Lineup:
“Of Books and Women I Sing,” (María Elorza, TxintxuaFilms)
A creative documentary about four women who have spent their lives reading and studying, safeguarding a precious heritage. By the producers of “Karmele” and “Mouths of Sand,” a solo feature from Elorza, part of the Basque collective Las Chicas de Pasaik, selected by Variety as a Talent to Track in 2017.
“Finding La Singla,” (Paloma Zapata, La Fábrica Naranja)
A portrait of one of the biggest and more ephemeral icons of Flamenco culture in ‘60s Spain, La Singla, who disappeared from the stage before she was 30. Antonia Singla was deaf, which makes her singular skills for dancing more amazing as she relied on her memory of music. By 17, she was considered one of the best flamenco dancers in the world. Project awarded at Abycine Albacete International Film Festival.
“Notes On A Summer,” (Diego Llorente, Failo Cine, Báltico)
The summer holidays are the time when, unexpectedly, Marta could change her life project with her boyfriend. While Marta’s boyfriend remains in Madrid she runs into an old love in Gijón. Llorente’s previous work, a doc feature, premiered at the Indie Memphis Film Festival.
“Ramona,” (Andrea Bagney, Tortilla Films)
A romantic comedy following Ramona, a wannabe actress, who meets Bruno. She doesn’t know he’s the director that could change her professional life, but she begins to have some feelings for him. What’s more: Ramona’s current boyfriend encourages her to accept the job that Bruno offers her. Project put forward by Tarragona’s REC festival.
“Sica,” (Carla Subirana, Alba Sotorra Producciones)
First fiction feature from Subirana, a Málaga Special Jury Prize winner, for “Kanimambo.” A coming-of-age drama threaded with ecological themes, it follows a young girl whose father, a fisherman from Costa da Morte, died while working. However, the sea won’tgive his corpse back.
“Land of Our Mothers,” (Liz Lobato)
Actress-turned-director Lobato directs a rural tragedy-comedy with darker touches about elderly Rosario and her disabled son Ofelio, her donkey, her friends and her goat. Rosario defends her ancestral way of living despite the opposition of her neighbors, all ruined by gambling.
“Salt Water,” (Steven Morales Pineda, Esuna Casa Audiovisual, Colombia)
Dark drama about a Catholic priest on his way out of the clergy following accusations of sexual abuse. He reconnects with Jacobo, a much younger boy. Jacobo must face his long-buried contradictory feelings about the priest.
“The Sharp Scissors,” (David Marcial Valverdi, Argentina)
An animated feature documentary set in in 1990s Argentina, following David, a nine-year-old boy who is fascinated by the toned and masculine bodies in the sport magazines at his grandmother’s hair salon,
“70 Mile Zoo,” (Daniel Ross Mix, Costa Rica)
Hybrid documentary that follows 40-year-old Damian who, alongside his childhood friend Rex, travels to the camp they call the Zoo in the middle of a burnt forest, where they will dig for morel mushrooms that grow in the ashes. Director produces and stars.
“Guián,” (Nicole Chi, Costa Rica, Noche Negra Producciones)
Doc exploring the director’s own Costa Rican-Chinese identity through a journey in which she travels to China after her grandma Guián passes away. Chi decides to undertake this initiatory trip to look for the house Guián left when she emigrated to Costa Rica.
“History and Geography,” (Bernardo Quesney, Chile)
After “Natural Disasters,” the Chilean director’s new dramedy turns on a a TV comedian, Gioconda Martínez, who returns to her hometown to stage a play, adapting Alonso de Ercilla’s 16th-century epic poem “La Araucana” which turns on the Mapuche people’s confrontation with Spanish conquistadors. Submitted by Sanfic Industry.
“Nothing,” (Adriano Guimarães, Machado Filmes, Brazil)
Multihyphenate artist Guimarães delivers a rural drama portraying the relationship between an artist, Ana, and her sister Tereza, stricken by an enigmatic illness that alters her consciousness. Backed by Brazil’s Cinemundi.
“I Don’t Want to Be Dust,” (Iván Löwenberg, Pensilvania Films, Mexico)
The director-producer’s dramedy on 55-year-old Bego, a bored wife with whose life mainly focuses on caring for her husband. But everything could change when a great cataclysm is announced in Bego’s meditation group. By the co-producers of Meritxel Colell’s “Duo,” a competition title at Málaga’s Zonacine.
“Rhinoceros,” (Arturo Castro Godoy, Altocine, Argentina)
Castro’s third feature follows 11-year-old Damian, who, when separated from a violent family and taken to a children’s home, has to learn that his former life is behind him and that a future of unknown possibilities awaits.
Málaga WIP is organized by the City Council, Málaga Procultura and the Málaga Film Festival in collaboration with Spanish state agency ICAA, the Ibero-American Audiovisual and Film Authorities (CAACI) and the Federation of Ibero-American producers (FIPCA).