Alfredo Castro, Clara Lago, Natalia Smirnoff, Paula Hernández Behind Titles at Iberseries & Platino Industria’s 2024 Forum
Backed by some of Latin America’s best known independent production labels – Argentina Kapow, Non Stop Studios Tarea Fina, Chile’s Parox and Rizoma Producciones, Colombia’s Rhayuela and Mexico’s Caponeto, Iberseries & Platino Industria’s industry centerpiece Co-Production and Financing Forum delivers a snapshot of current TV and film production in Latin America and Spain.
Yes, a social focus still remains but it is laced by entertainment genres, led by crime and comedy, pushing titles into a cross-over territory.
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Following, brief profiles of the 10 pic and 10 series lineup, which features stars – Alfredo Castro and Clara Lago in “Queen of the Woods,” and name directors such as Berlin Competition contender Natalia Smirnoff, helming “(Im)perfect Mom” and “Sleepwalkers’” Paula Hernández on “Duarte.”
Enjoy.
Series Projects
“El Abogado Mattos,” (Colombia, Mexico)
A true crime thriller turning on David Durán, lawyer to Colombian magnate Carlos Mattos, debating in jail whether to break silence on Mattos’ bribery of judges in a lawsuit against Hundai. Produced by Federico Duran’s Rhayuela and Punta Fina, with its founder-CEO Raul Prieto (“Rubirosa,” “La Negociadora”) writing.
“Ana from Raval,” (Spain)
A social dramedy created and showrun by Spain-based multi-hyphenate Mi hoa Lee, a standout performer in Cesc Gay’s Canneseries title “Felix.” Living in Barcelona’s Raval, a humble but rambunctious multi-ethnic melting pot, Ana, an artist and single mother, battles to bring up her daughter without giving up on her dreams. “Based on autofiction” about “invisible beings that few care about,” says Mi how Lee. “I promise you entertainment, tears and lots of laughter.” La Charito Films and Angeli Pictures produce.
“Band of Buffoons,” (Spain)
The latest from veteran César Benitez’s Plano a Plano, producer of free-to-air blockbusters “El Principe” and “Allí Abajo,” and Netflix hits “Toy Boy,” “Valeria” and “A Perfect Story.” Here, in darkly comedic action thriller, a group of artists in a psychiatric hospital plan a heist against a big pharma company, sparking a corruption scandal. The series “explores with ingenuity being ‘different’ in a world which sometimes overvalues uniformity,” says Alejandro Bazzano, director/co-creator.
“Daddy Issues,” (Spain, Colombia)
Produced by Spain’s ECTV Media and Colombia’s Alibi Films, a dramedy come multi-platform mockumentary in which famed psychiatrist Samuel Mendes explores a journalist patient’s paternity challenges as he encourages him to use his profession to change the world. The series debut of Colombia’s Mauricio Quintana.
“Dad and Eleven,” (“Once Hermanos,” Mexico, U.S., Peru, Argentina, Spain)
Eleven complete strangers of different ages and nationalities spend one week at a paradisiacal beach house, invited by the absent yet captivating father they all share. Inspired by a true story and “featuring deep, endearing characters,” with the idea of casting “a renowned global actor who will bring to life one of the most seductive yet controversial patriarchs of all time,” says creator Diego Martinez-Ulanosky at Caponeto, the notable Mexican creator-producer of Netflix’s “Unstoppable” and a co-producer on “My Tender Matador.”
“Dangerous Love,” (“El Peligro de Quererte,” Chile)
In turbulent 1950s Chile, Alba, a young medic, falls for Zahiri when lesbianism was taboo. Complicating matters, Zahiri is a member of the country’s leading drug clan, founders of Latin America’s narcotics trade. Created by Leonora González , a parter at reputed Chilean TV co Parox, behind “Invisible Heroes, “Los Prisioneros” and “Allende: The 1,000 Days.” Written by go-to Chilean scribe Carla Stagno, with Katherina Harder (“Estrellas del Desierto”) set to direct.
“Duarte: Evita Behind the Icon,” (Argentina)
Paula Hernández, helmer of Argentine Oscar entry “The Sleepwalkers,” is attached to direct Eva Perón the series project from Argentine powerhouse Kapow (“La Jauría”), focusing on the formative youth of the Argentine legend, best known as Evita. “This is the portrait of a woman who never lost sight of her origins in order to build her own identity according to her drives and convictions and, at the same time, to build a universe for a crowd who would believe in many of her ideals,” Kapow’s Diego Ventura told Variety.
“A Few, Good & Confident,” (“Pocos, buenos y seguros,” Spain)
In 1977 Spain, as it celebrates its first general elections, a young jailed delinquent joins a revolutionary movement for prison reform. A thriller portrait of two years of jail-breaks, prison riots and bloody protests which shook the foundations of Spain’s penitentiary system. Produced by Iñaki Gómez at Bixagu Entertainment, created by Ales Payá and Gorka Lasaosa based on their multi-prized 2022 short.
“A Series of People,” (Spain)
The latest project from Sergi Cameron’s Barcelona-based Nanouk Films which scored a home run with “This Is Not Sweden.” An ex-TV star, now menopausal and struggling, ends up working as an extra on a chaotic shoot at a mansion in Cadaqués. The ad: a fashion campaign inspired by Dalí and surrealism. The cast: twentysomething influencers. Created by Nanouk’s Marina Jover, who produced “Fauna.” “Continuing the editorial approach we began with ‘This Is Not Sweden,’ the series is led by women that address timely issues with a blend of dark humor and tenderness,” Cameron tells Variety.
“Yo y punto,” (Spain)
One day, Axel, 36, is young. The next she’s told she’s suffering premature menopause. A half-hour dramedy following Axel’s “despairing, cyclothymic, tough and highly entertaining race to become a single mother,” says co-creator Lucas Mirvois CEO of Spain and Argentina-based La Maldita, behind Netflix pick-up “According to Roxi” and podcast “Malas Decisiones” with Anna Castillo (“Nowhere”). Co-creators are Mariam Hernández and Pablo Ferreira, La Maldita development director.
Invited Ventana Sur Project:
“How Grinchi and Mrs. Claus Bloodied Xtmas,” (Cómo Grinchi y La Sra. Claus ensangrentaron la Navidad,” Spain, Argentina)
Grinchi, a frustrated comic artist, helps a mysterious woman dressed as Mrs. Claus dispose of a blood-stained sack containing a corpse. She’s arrested but Grinchi’s viral comic sparks a movement for justice, turning Mrs. Claus into “The Christmas Avenger.” Produced by Spain’s La Villana and co-produced by ATM and Flixxo, the Argentine VOD platform. Chosen from Ventana Sur’s SoloSeries project strand organized by Flixxo, the Argentine VOD platform.
Feature Films
“A Distant Place,”
With Chile’s Rizoma, and actors Ernesto Alterio (“Santa Evita”) and Soledad Villamil (“The Secret in Their Eyes”) on board, set up at Argentina’s Twins Latin Films and Spain’s Filmakers Monkeys with Alberto Lecchi (“Epitafios,” “Madame Requin”) attached to direct. Penned by Gerardo Pranteda, the story revolves around a pianist and a history teacher as they struggle for a second chance at love before a shattering illness impacts the musician’s grip on reality.
“Holy Mother,” (“Bendita María,” Spain)
María, an aged, devout parishioner facing eviction is forced to try to steal the money her church has saved to restore her beloved Virgin, aided by Edu, a minor under guardianship from Portugal who’s about to come of age and also be left homeless. Created by María Mínguez, a writer on “Live Twice, Love Once” and “Unicorns,” “an intergenerational dramedy both local and international directed, written, produced and starred by women who will make the audience smile with its tenderness,” says Paloma Mora at ON Producciones.
“The Invisible War,” (“Guerras Invisibles,” Mexico)
Exploring two radiation “accidents” in Mexico (1984) and Brazil (1987), plus Chernobyl (1986) and Fukushima (2011), a study of “how social and economic disparities have deepened to a point where radiation has become one more weapon in the invisible war for survival,” says director Marcela Arteaga, at Mexico’s Gefilte Films. A triple winner at Guadalajara’s Co-Production Meeting.
“Justino,” (Brazil, Portugal)
Structured as a powerful Brazil-Portugal co-production between Mercado Filmes, Geraçao Editorial and TAG Cultural in Brazil and SPi in Portugal. Directed by José Eduardo Belmonte, who directed HBO’s “El Hipnotizador” and served as artistic director on Globo’s Canneseries winner “Jailers.” Here, he helms the ‘90s-set true story of Justino, a black and bisexual pastor from the outskirts, who rises as a star of the Universal Church, leading its expansion in Europe. Imovision handles distribution in Brazil.
“La imagen de un crimen,” (Spain)
Set up at Bixagu Entertainment, behind Carlota Pereda’s “The Chapel” and Arantxa Aguirre’s 2024 San Sebastian hit “Freedoms to Dreams,” and billed as a darkly humored neo-Noir thriller. Iñaki, 70, a Basque retired air traffic controller, believes he’s discovered a crime on Google Street View. Only the young teacher at his computer class believes him. Soon they discover a criminal conspiracy and are in deep water. Set to shoot in the Basque Country in 2026, Bixagu’s Iñaki Gómez told Variety.
“(Im)perfect Mom,” (“Mamá (Im)perfecta,” Colombia, Argentina, Canada)
A potential Forum standout, with Argentine helmer Natalia Smirnoff – director of “Puzzle,” a 2010 Berlin main Competition contender, and “Lock Charmer,” selected for the 2014 Sundance Festival – attached to direct, backed by Colombia’s Laberinto Producciones and Ganas Producciones, Argentina’s Tarea Fina and Canada’s Fait Divers Media. Inspired by a Penguin Random House bestseller, a recent mother develops an insatiable craving for alcohol. Elba McAllister’s Cineplex distributes in Latin America. “A journey through the unbreakable bonds formed between mother and child amidst the complexities of motherhood and addiction,” Smirnoff said.
“Mi otro verano,” (Spain, Uruguay)
Against a near wild setting, Carlota and Pol are swept away by an intense affair, until the undertow of their pasts eats away at their relationship. Co-written and to be directed by Spain’s Marta Vazgo, presenting her vision of love in current times which scored in “Chicos, La Serie.” Backed by a wide-ranging alliance of producers: Vazgo’s D’Sierto Films, Teresa Enrich’s Link-up Production, Spanish distribution-production house 39 Escalones Films and producer Ignacio García Cucucovich and director Gustavo Hernandez’s Mother Superior, one of Uruguay’s best known production labels (“Simon of the Mountain,” “Virus 32”).
“My Little Justice League,” (“Mi pequeña liga de la justicia,” Uruguay)
Montevideo, 1983. When her best friend’s family flees under suspicious circumstances, Lucía, 10, gathers the rest of her gang to create clever superhero comic strips plastered on the neighborhood walls, aiming to help bring her back. “A deeply emotional and personal story rooted in a very important part of our country’s past in a fun feature length film that can be enjoyed by people of all ages,” says producer Natalia López at Lavorágine Films. Bibiana Passadore’s feature debut.
“Queen of the Woods,” (“Reina del Bosque,”
Starring Pablo Larrain go-to actor Alfredo Castro, seen most recently in “El Conde,” and “Gangs of Galicia’s” Clara Lago, one of the biggest packages at this year’s Iberseries, produced by Libre Cine (Argentina), NonStop (Argentina, Spain), Bosco Entertainment (U.S.) and Cinefilm (Brazil). The neo-horror suspense thriller has a mother-to-be forced to take in her estranged dying father in an isolated mountain cabin. To be directed by Luján Loioco. “I aim to craft a story that truly connects with the audience. In this film, I want to delve into emotions deeply intertwined with the feminine experience,” she told Variety.
“Wildness,” (Salvajes, Peru, Chile)
Packing eye-catching talent – directors Claudia Huaiquimilla (“My Brothers Dream Awake”) and Joanna Lombardi (“Los Prisioneros” showrunner), screenwriter Diego Vega, creator and co-director of “My Lucky Day” – a true-event based crime drama set in Paris and Peru in the early ‘70s narrating the explosive encounter of a past-her-prime jet-set model and young surfer with a flourishing narcotics business. “We want to pay tribute to genre but expose its stereotypes. We’re making a Latin American ‘Bonnie and Clyde,’” says Lombardi.
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