Cannes — Programmed by France’s Association for the Diffusion of Independent Cinema, Cannes’ Acid section turned its spotlight this year on Argentine cinema.
As access to talent – creative and crews – becomes a predominant challenge for producers worldwide, given the huge production demand driven by global platforms, the radar can hardly be spread too wide in search of young emerging writer-directors Rich in talent and benefiting from a distinguished national cinema heritage, Argentina’s independent sector faces, however, the immediate challenge of finding an audience in and outside its domestic market. Acid, a parallel section at Cannes, provided an invaluable international platform.
One of three features in its Argentine focus, “Sangre blanca” (“White Blood”) marks the sophomore feature of Barbara Sarasola-Day (“Belayed”). It also underscores how much upscale foreign-language cinema is developing a genre edge.
A drug trade-thriller and father-daughter drama, it turns on Martina (Eva De Dominici) who becomes a drug mule,...
As access to talent – creative and crews – becomes a predominant challenge for producers worldwide, given the huge production demand driven by global platforms, the radar can hardly be spread too wide in search of young emerging writer-directors Rich in talent and benefiting from a distinguished national cinema heritage, Argentina’s independent sector faces, however, the immediate challenge of finding an audience in and outside its domestic market. Acid, a parallel section at Cannes, provided an invaluable international platform.
One of three features in its Argentine focus, “Sangre blanca” (“White Blood”) marks the sophomore feature of Barbara Sarasola-Day (“Belayed”). It also underscores how much upscale foreign-language cinema is developing a genre edge.
A drug trade-thriller and father-daughter drama, it turns on Martina (Eva De Dominici) who becomes a drug mule,...
- 5/28/2019
- by Emilio Mayorga
- Variety Film + TV
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