DocMontevideo kickstarts it’s 15th edition.

Pitching session for Latin American feature film projects. Those accredited to DocMontevideo may participate as observers and follow the presentations and dialogues with market decision makers.

A tour of the works and their creation processes together with creators we met at DocMontevideo.

Paula Gomes

Paula Gomes (Brazil) is part of the Plano 3 Filmes collective, from Salvador de Bahia, where she made films such as “Jonás e o Circo sem Lona” and “Filho de Boí”. The group’s new film “Saudade fez Morada aqui Dentro” is the winner of the last Mar del Plata Film Festival, where it received five awards, including best film according to the audience and the official jury. Paula Gomes also acts as a project consultant, having participated in labs such as Nordeste Lab, Diáspora Lab and DocSP.

Alicia Cano

Alicia Cano Menoni (Salto, Uruguay, 1982). She works as a director, producer and communicator. She directed El Bella Vista (2012), Locura al aire (co-directed with Leticia Cuba, 2018) and Bosco (2020). Her films have been screened at festivals in San Sebastián, Karlovy Vary, IDFA, Málaga, Guadalajara, among others. With Bosco, she received twelve awards, among them for the best documentary film at the Malaga festival. The film was nominated at the 2023 Platinum Awards. She has written and directed for Italian television. She lived and worked in Italy, Mexico, India, and Uruguay.

The Chilean Ambassador to Uruguay Rodrigo Hume, ProChile and Chiledoc are pleased to invite you to meet and share with the Chilean filmmakers who come to DocMontevideo to promote their films and series in Latin America and the world.

Come and surprise yourself with unique stories and enjoy a wine of honor.

THE OLYMPICS 300 hours of material, 4 years of filming, 2 years of editing, are the numbers that the documentary “El retrato de mi padre” by Juan Ignacio Fernández Hoppe throws on the table. Together with the film’s editors, Guillermo Madeiro and Guillermo Rocamora, and based on the analysis of scenes included in the final cut and others discarded, the three filmmakers will reflect on issues such as the construction of the point of view when the director and the protagonist are the same; the balance between the police plot and the family tragicomedy; the role of editing as a trigger for new shoots and above all, the bond of work and friendship that has united them for more than fifteen years and several films on their shoulders.

Juan Ignacio Fernandez Hope

Juan Ignacio Fernandez Hoppe. He has a degree in Communication Sciences (UCU), a teacher of Film Editing at the Uruguayan Film School and of Documentary Screenplay at the Faculty of Fine Arts. Publisher of: Bon Voyage, Alone, The Frozen Man, Clever, Breathe, Freedom is a Big Word and The World Champion. He directed the documentary Las flores de mi familia, best Latin American film award at FIDOCS, Santiago de Chile.

Guillermo Madeiro

Guille Madeiro (Uruguay, 1984). Montajista y director. Dirigió con Federico Borgia El campeón del mundo (2019) y Clever (2015). Trabajó como montador de más de 20 largometrajes como El Retrato de mi padre, Bosco, Carmín, Tres Hermanas,  Dizer Adeus, entre otros. Es licenciado en Comunicación Social y docente de montaje.

Guillermo Rocamora

Guillermo Rocamora (Uruguay). Se desempeña como director, guionista, productor y montajista.  Co-montajista del documental “Las flores de mi familia”, mejor Película Latinoamericana en FIDOCS. Dirige “Solo”, ganador Mejor Ópera Prima en el 30th Miami International Film Festival y  “La libertad es una Palabra Grande”, estreno en IDFA en 2018, entre otros. Actualmente se encuentra en etapa de postproducción de su próxima ficción, la comedia familiar, “Temas Propios”.

A series of films by Andrés Di Tella.
Argentina, 2022-23

Diaries is an ongoing project. It contemplates the realization of a series of diaries cinematographic, an indeterminate number of short pieces -between one minute and half an hour long- that incorporate images recorded with the cell phone, personal archives and found material. Incidents of daily life, childhood memories, portraits of friends, travel chronicles, readings and songs: diaries.
On this occasion, 9 newspapers will be screened, and a reading by the author will be attended.

Script and direction: Andrés Di Tella | Editing: Alex Del Rio | Production: Andrés Di Tella

Andrés Di Tella

Andrés Di Tella (Argentina), he is a filmmaker, writer and curator. He directed La television and me, Photographs, Hacks, 327 notebooks and Private fiction, among others. He also published two non-fiction books: Hacks and Notebooks. His work includes installations, performances and video art pieces. As curator, he was the founder of BAFICI and the Princeton Documentary Festival. He was distinguished with the Guggenheim Scholarship and Konex award as best documetary filmmaker of 2011-2020. Actually is working as guest professor at Harvard University.

 

 

How we work with foreign filmmakers and our international expansion

From the hand of its director, Adam Ellick, we will learn about the work of the NYT Op-Docs, its way of producing, licensing and programming documentary shorts at a time when the platform is expanding its reach with global audiences.

Adam Ellick

Adam Ellick (USA) Director and executive producer of Op-Docs and Opinion Video at The New York Times. He has produced Pulitzer, Oscar and Emmy award-winning video journalism and feature films.Previously, he was an international video correspondent and print reporter at The Times, covering human rights issues. His work includes “The Malala Story” (2009), “Operation InfeKtion: Russian Disinformation from Cold War to Kanye” (2028). In 2022, he was executive producer of “The Queen of Basketball,” a documentary that earned the Times its first Oscar.

In 2003, I left an unfinished film. He had filmed a young Catalan poet to find out how to capture with images the challenge of creating a universe with words. I didn’t finish that movie, I put the seven tapes I recorded in a box and stopped filming. I don’t know the reason, I only remember the feeling of loss. Four years ago I read a word by chance, “Solastalgia”, a powerful word with which I would dare to reopen the box.

“Solastalgia” is a concept coined by Glenn Albrecht, curiously also in 2003, to designate the consequences caused by the rupture of the feeling of belonging to a place, the helplessness caused by the loss of the house. What happened with the images of the poet, wouldn’t it be something similar to that? Wouldn’t it be that feeling, the loss of the sense of belonging to the image? If twenty years ago I wanted to make a film called “Love Song”, today I find myself creating again and making a “talking film” (or live film, or performance film, as you like), called “Love Song, a non-existent film in the works”.

With her, I seek to explore this loss of the sense of belonging to images filmed in the past and share their recovery, if possible.

Marta Andreu

Marta Andreu (Spain). In 2004 she founded Estudi Playtime in order to devote her time to producing creation documentaries. Her last production “Amanecer” was awarded as best Colombian film at FICCI. In 2017 she founded Walden a documentary training residence. In 2004-2005 she coordinated a Spanish documentary cinema retrospective for Cinéma du Réel. She analyses documentary scripts for the Centre de Desenvolupament Audiovisual.  She has a degree in audiovisual communication and a master’s in creation documentary from the Universitat Pompeu Fabra.