Ventana Sur’s inaugural edition in Montevideo (December 2-6) has wrapped after more than 2,300 industry professionals made their way to Uruguay to hear pitches, discover new projects, continue existing relationships and start new ones.
The event took place outside Buenos Aires in Argentina for the first time since 2009 due to ongoing uncertainty over the national economy and public arts funding since the president Javier Milei swept to power a year ago.
Screen was on the ground to report on the highlights and understands the event is scheduled to return to Buenos Aires in 2025, before hopping back to Uruguay in 2026.
Here are five talking points that summarise the mood and activity in Montevideo.
The show must go on
The inaugural ceremony began with an impassioned defence of Uruguayan culture delivered by Facundo Ponce de León, president of Uruguay’s cinema body ACAU. Following his remarks, the newly elected president of the South American nation and neighbour to Argentina, Luis Lacalle Pou, reiterated his support for the audiovisual industry and announced his commitment to renewing the Uruguay Audiovisual Program (PUA) for 2025.
With over 2,300 professionals in attendance, the international industry has expressed confidence in Montevideo’s infrastructure and capacity to host Latin America’s flagship audiovisual market.
“For Cinema do Brasil, the significance of this special edition is centred on reinforcing our commitment to the Latin American industry and its most valuable market event,” said Morris Kachani, Cinema do Brasil’s newly appointed executive manager. “During challenging times, we’re here with a large delegation to demonstrate our respect and support.”
The industry is navigating a rapidly changing landscape, but Ventana Sur’s importance to the region – particularly its connections with Europe – remains indisputable. And as an incubator for exportable talent, it is valued highly.
“Blood Window is a vital platform for genre film professionals, from the Ibero-American region and globally. […] Blood Window has helped us discover the artistry of filmmakers like Demian Rugna, Michelle Garza Cervera, Renata Pinheiro, and others,” said Jongsuk Thomas Nam, managing director of NAFF at the Bucheon International Fantastic Film Festival (BIFAN).
Mónica García Massagué, general manager of Sitges International Fantastic Film Festival of Catalonia, added: “When all the international markets have done their year work, Ventana Sur is already preparing for the next cycle. It’s the key place to explore trends at different stages of the production chain in such a special and talented region as this one.”
Line-ups strong yet unpredictable, reflecting industry reality
While the strength of this year’s line-ups was unanimously praised by industry attendees, participants noted an element of surprise. Projects that may not have been viewed as the favourites have taken home awards or drawn the most one-on-one meeting requests.
This was particularly evident in animation and series, two areas that often require longer production timelines and typically involve broadcasters or streaming platforms. As Silvina Cornillon, head of Animation!, explained: “The timelines for animation are so long that many producers aren’t entirely sure whether current tastes and trends, evolving at such a fast pace, will hold by the time their work is completed.”
Much of the unpredictability tallies with the rapidly changing demands of commissioners. In a lively discussion, Alejandro Bazzano, one of the more celebrated showrunner-directors who is known for Money Heist, Plastic Sea, and Scar, shared recent experiences pitching projects to streamers.
“I’d go in excited to pitch an action comedy or a dark comedy to a streaming platform, and they’d respond, ‘Yes, yes, that’s great… but would you happen to have a rom-com around?’” Bazzano added, “Why is everyone suddenly asking for romcoms? What’s gotten into them?”
Animation! showcase shines through
Another crucial pillar of Ventana Sur is animation. Véronique Encrenaz, head of the International Animation Film Market (MIFA), said: “Since 2015, when I started discussions with Cannes’ Marché du Film about bringing animation to Ventana Sur, tremendous progress has been made thanks to the hard work of Silvina Cornillon… By sharing content and ensuring projects have a place in one event or the other, we guarantee that the most promising films embark on a journey from their early stage presentations to their final distribution.”
José Luis Farias, executive producer of the Quirino Awards, added: “The role of Animation! at Ventana Sur is pivotal, especially in linking the gears of co-production between Latin America and much of Europe. The projects are becoming increasingly robust, partly due to the guidance and support provided by Ventana Sur.”
Farias continued, “The female mentorships are truly impressive. I would also like to add that technology is greatly aiding us now in boosting our competitiveness in the international market. It’s a time of opportunities.”
Antonio Saura’s Latido Films has come on board to handle international sales on Small Town, the next feature from stop-motion veteran Walter Tournier, responsible for Uruguay’s first animated feature Selkirk, The Real Robinson Crusoe (2012). Tournier co-directs Small Town with another celebrated master of the art, Cesar Cabral (Bob Spit – We Do Not Like People). Small Town is produced by Mariela Besuievsky at Tornasol Media (Spain), Iván Melo at Cup Filmes (Brazil), and Esteban Schroeder’s La Suma (Uruguay).
A regional think tank
Ventana Sur is not just a market where tangible business gets done but it acts as a think tank that addresses the evolving needs of the sector, especially through its ties to Europe and the rest of the world.
One of the standout moments this year was the presence of Uruguayan filmmaker Fede Álvarez, who first garnered international acclaim with his viral short Panic Attack! in 2009. This breakthrough paved the way for his Hollywood career, leading to works like Evil Dead and Don’t Breathe, and culminating in his latest endeavour, 2024 box office hit Alien: Romulus. Álvarez reflected on his creative journey, the challenges he faced, and the influence of Uruguayan talent on the global film stage.
Another notable guest was Daniel Dreifuss, the Academy Award-winning producer of All Quiet On The Western Front. Dreifuss delivered an insightful talk, “On The Road To The Oscars: Keys To The Campaign.” He provided strategic advice on positioning Latin America within the competitive global market, emphasising the importance of crafting narratives rooted in the cultural identities of the region.
Key partnerships, initiatives and announcements
Ventana Sur is a major staging post on the Ibero-American circuit and usually brings key announcements. This year Spcine São Paulo Film Commission and Municipality of Montevideo announced a framework accord to facilitate collaboration. The agreement is designed to develop professional training; help with technical and content exchange in public cinema venues; and develop projects that promote the distribution of audiovisual productions from São Paulo and Montevideo.
Lawyer-producer Virginia Juárez, founder of the recently established Fondosa Foundation, is partnering with Brazil’s philanthropic organisation Projeto Paradiso to launch a new mentorship initiative for women screenwriters. The programme will support the development of one screenplay from Brazil and one from Argentina. Acclaimed Argentinian filmmaker Lucrecia Martel (The Headless Woman, Zama) is set to serve as inaugural mentor.
Ibermedia Next, the pan-regional fund promoting the use of new technologies in animation and digital content from Spain, Portugal, Italy, and Latin America, has revealed the recipients of its second round of awards. The selection includes 14 projects aimed at pushing the boundaries of creativity and innovation and include: Catwalk, by La Chula Films SL and Hilda Studio (Sp-Br), Mar Y El Delta by Alba Sotorra, Pájaro, and BA Studio (Sp-Chil-Col), and Planet 141 (Sp-Mex-Col-Arm). The awards include direct financial grants of up to €150,000 per project, and tailored training and consulting programmes.
The Málaga Festival Fund Co-production Event unveiled its line-up of projects for the next edition (March 17-21, 2025) as part of the 28th Málaga Film Festival. The selection includes 15 projects, along with two more from guest country the Dominican Republic, and six additional projects chosen through partnerships with various Ibero-American labs and events. Selected projects include: The Violinist by Ervin Han and Raúl García (Sp), I Thought I Was Swimming by Catalina Torres Puentes (Uru), and Tenants Are Wanted by María Paz Barragán (Per).
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