Local Talent, Schooled on International Shoots, Boosts Uruguay’s Film Industry
Welcoming foreign shoots while the rest of Latin America was in COVID lockdown, Uruguay has benefited from a growing influx of international productions, with local talent and crew gaining invaluable on-set experience.
National production has increased to nearly pre-pandemic levels, 33 features in 2023, on a par with 2019, and 30 features in 2024, way up on 2016’s 11 features produced.
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Uruguay’s film industry has also grown in diversity in terms of genres and co-productions. Last year also saw 32 local theatrical releases, with documentaries making up the bulk but also featuring Montelona co-produced “A Blue Bird,” the latest from “Las Acacias” director Ariel Rotter, and the 2024 Cannes Critics’ Week winner “Simon of the Mountain” by Federico Luis.
Driving growth are powerhouse companies led by Cimarrón, a Mediapro company, which provided production services to Netflix’s most ambitious and expensive Brazilian series, “Senna,” and to J.A. Bayona’s Oscar-nominated “Society of the Snow.” Cimarrón, led by founders Hernán Musaluppi, Diego Robino and Santiago López, is amping up the star power and budget of some productions, led by Juan Taratuto’s upcoming “Sin Equipaje” with Gael Garcia Bernal and Natalia Oreiro.
Also key to further advances is boosting Uruguay’s talent pool. “We are working with Uruguayan writers and directors making the leap into streaming platforms. While placing local productions in the market is challenging, a new generation of talent is emerging. Beyond Uruguay’s high technical crew standards, the real challenge lies in successfully positioning and integrating its creative talent,” says Musaluppi.
“A lot more series are being made here,” notes Andres Varela of El Delirio Films, who is taking his upcoming docu-series, in co-production talks with Germany, “El Aguila,” to Berlin. A fictional series, “Graf Spree,” is now in pre-production. Both revolve around the momentous World War II naval battle, the Battle of the River Plate, and have Oscar-nominated DoP Cesar Charlone (“City of God”) on board.
El Delirio is also working on the doc feature” Instinto,” about the theatrical stage company Thikwa, comprising individuals with disabilities, which has become one of Berlin’s most prominent theater companies.
Says Agustina Chiarino of Bocacha Films: “We come from a small country which translates in a limited domestic audience. Our funds somehow rely on that. As co-producers, with government or similar soft funds from other countries, we can reach a budget of around $1 million, sometimes requiring many co-producers. To grow beyond that, we need private or industry-driven funding, as local sources alone are insufficient.”
“I want to ensure that independent, artistic films continue to thrive. At the same time, it would be beneficial to expand beyond servicing and produce more local content in a commercial, industry-driven way,” she adds. Among her projects is “Narciso,” Marcelo Martinessi’s second film after “Las Herederas,” with seven countries involved.
“The Film Institute offers funding to local producers of up to $15,000 for development and between $50,000 and $100,000 for production, depending on the genre,” says Varela, adding: “Additionally, the Uruguay Audiovisual Program can provide cash rebates, depending on the applied amount and genre. Montevideo’s municipal awards (FONA) range from $50,000 to $100,000, also depending on the genre. A fourth option is the Montevideo municipal awards, Montevideo Filma, which provides $12,000 for filming, and Montevideo Socio, which offers $18,000 for project completion.”
This largesse has boosted homegrown production and subsequent theatrical releases. “Nadador Cine will release several films in Uruguay over the next ninety days. It’s unusual for a production company to debut so many films in such a short time,” says company co-founded Pedro Barcia.
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