Content Americas, the fast-rising trade event in Miami, has unveiled the finalists for its 2024 Content Americas CoPro Pitch and Content Americas Hispanic Kids Programming Pitch.
According to event organizer C21, more than 80 submissions rolled in for the CoPro Pitch and over 50 for the Kids Pitch from seasoned producers across Latin America, Spain and Portugal.
Among the CoPro Pitch finalists are scripted series “Hot Sur,” an adaptation of the Laura Restrepo bestseller about an undocumented Mexican immigrant looking after her bipolar sister in the U.S. This hails from Chilean powerhouse shingle, Fabula, run by Pablo and Juan de Dios Larrain, in partnership with Fremantle. Spain’s The Mediapro Studio submitted “El mal,” an 8-episode thriller based on actual events. Set in Barcelona during the pandemic lockdown, a serial killer has been targeting those who literally have no refuge, the homeless.
Leading the Hispanic Kids Programming Pitch entries are animated adventure pic,...
According to event organizer C21, more than 80 submissions rolled in for the CoPro Pitch and over 50 for the Kids Pitch from seasoned producers across Latin America, Spain and Portugal.
Among the CoPro Pitch finalists are scripted series “Hot Sur,” an adaptation of the Laura Restrepo bestseller about an undocumented Mexican immigrant looking after her bipolar sister in the U.S. This hails from Chilean powerhouse shingle, Fabula, run by Pablo and Juan de Dios Larrain, in partnership with Fremantle. Spain’s The Mediapro Studio submitted “El mal,” an 8-episode thriller based on actual events. Set in Barcelona during the pandemic lockdown, a serial killer has been targeting those who literally have no refuge, the homeless.
Leading the Hispanic Kids Programming Pitch entries are animated adventure pic,...
- 12/21/2023
- by Anna Marie de la Fuente
- Variety Film + TV
Ahead of next week’s Mipcom, Banijay has acquired global rights to Argentine celebrity competition series “The Hotel,” continuing its hugely successful relationship with Diego Guebel’s high-flying Boxfish in Argentina.
Produced by Boxfish for Canal 13, one of Argentina’s biggest free-to-air channels, “The Hotel” (“El Hotel”) sees 16 celebrity contestants shut themselves away for four months in a luxury hotel on the outskirts of a city. There’s only one caveat: the luxury establishment does not employ any staff.
“While guests enjoy a luxurious stay in the pool, spa and live shows and tuck into gourmet dinners, staff are housed in the hotel’s service area, washing linen, preparing breakfast and serving the guests’ every need,” Banijay explained Saturday, announcing its acquisition.
The celebrities decide at the start of the week who are ‘guests’ and who become the ‘hotel staff.’ At the end of the week, an elimination duel determines who leaves “The Hotel,...
Produced by Boxfish for Canal 13, one of Argentina’s biggest free-to-air channels, “The Hotel” (“El Hotel”) sees 16 celebrity contestants shut themselves away for four months in a luxury hotel on the outskirts of a city. There’s only one caveat: the luxury establishment does not employ any staff.
“While guests enjoy a luxurious stay in the pool, spa and live shows and tuck into gourmet dinners, staff are housed in the hotel’s service area, washing linen, preparing breakfast and serving the guests’ every need,” Banijay explained Saturday, announcing its acquisition.
The celebrities decide at the start of the week who are ‘guests’ and who become the ‘hotel staff.’ At the end of the week, an elimination duel determines who leaves “The Hotel,...
- 10/15/2022
- by John Hopewell
- Variety Film + TV
Rolling off the success of “Family Feud,” Fremantle Latin America is targeting more format adaptations in Argentina with Boxfish, headed by famed former Cuatro Cabezas’ founder Diego Guebel, producer of the multi-formated “Cqc.”
The conversations to develop more light entertainment formats are part of a growing alliance between Fremantle and Boxfish, who struck a format adaptation deal in April 2020 that sees Boxfish co-produce with Fremantle the Argentine makeovers of a select number of Fremantle formats.
Talks focus on a “handful” of gameshows which have had a successful run in the past and also new gameshows that are currently trending which have comedic elements and a slight nostalgic feel, said Coty Cagliolo, Fremantle head of production, Latin America.
Conversations to build the Fremantle-Boxfish alliance come after Fremantle family quiz format “Family Feud” was sold by Boxfish to Artear’s El Trece in Argentina, and bowed on the channel on Aug. 24 as “100 Argentinos Dicen,...
The conversations to develop more light entertainment formats are part of a growing alliance between Fremantle and Boxfish, who struck a format adaptation deal in April 2020 that sees Boxfish co-produce with Fremantle the Argentine makeovers of a select number of Fremantle formats.
Talks focus on a “handful” of gameshows which have had a successful run in the past and also new gameshows that are currently trending which have comedic elements and a slight nostalgic feel, said Coty Cagliolo, Fremantle head of production, Latin America.
Conversations to build the Fremantle-Boxfish alliance come after Fremantle family quiz format “Family Feud” was sold by Boxfish to Artear’s El Trece in Argentina, and bowed on the channel on Aug. 24 as “100 Argentinos Dicen,...
- 1/25/2021
- by John Hopewell
- Variety Film + TV
“The only absolute in history is change,” said the Victorian historian Lord Acton. He might have been talking about the streaming platforms’ current international strategies. Since they launched internationally, Netflix and Amazon’s focus and priorities have been in constant evolution. Current pressures – evolving demographies, new regulation, new competition, still untapped growth – mean that re-engineering won’t stop any time soon.
On Jan. 23, as the Natpe Miami conference wound down, Amazon Prime Video announced out of Miami four new Latin American Amazon Original series: Lucía Puenzo’s “La Jauría” (“The Pack”), “Colonia Dignidad,” produced by Diego Guebel; Daniel Burman and Sebastián Borensztein’s “Iosi, The Repentant Spy”; and Andrés Wood’s “News of a Kidnapping.”
The announcement says much about Amazon Prime Video’s priorities, and the state of the streamer business in Latin America. Five takeaways:
1.Amazon Expands Production Reach
Also on Jan. 23, Amazon announced its first two forays...
On Jan. 23, as the Natpe Miami conference wound down, Amazon Prime Video announced out of Miami four new Latin American Amazon Original series: Lucía Puenzo’s “La Jauría” (“The Pack”), “Colonia Dignidad,” produced by Diego Guebel; Daniel Burman and Sebastián Borensztein’s “Iosi, The Repentant Spy”; and Andrés Wood’s “News of a Kidnapping.”
The announcement says much about Amazon Prime Video’s priorities, and the state of the streamer business in Latin America. Five takeaways:
1.Amazon Expands Production Reach
Also on Jan. 23, Amazon announced its first two forays...
- 1/28/2020
- by John Hopewell
- Variety Film + TV
Amazon Prime Video in Latin America has added four new Amazon Original Series to their catalog from Argentina, Chile and Colombia, the first Originals from the territories. The series will be available on the platform in more than 200 countries and territories.
Chile’s “La Jauría” (“The Pack”) already broadcast on domestic network Tvn, will be joined by three series set to begin production in 2020: “Iosi, El Espía Arrepentido,” “Colonia Dignidad” and “Noticia de un Secuestro.”
From Chile, “La Jauría” is directed by award-winner filmmaker Lucía Puenzo, whose 2007 feature “Xxy” won four prizes at the Cannes Festival. The series stars Chilean Oscar-nominated “A Fantastic Woman” lead actress Daniela Vega in a story of a Catholic school girl who starts a protest against a deadly online game in which men are recruited to commit acts of violence towards women. The girl disappears and her story goes viral when a video of...
Chile’s “La Jauría” (“The Pack”) already broadcast on domestic network Tvn, will be joined by three series set to begin production in 2020: “Iosi, El Espía Arrepentido,” “Colonia Dignidad” and “Noticia de un Secuestro.”
From Chile, “La Jauría” is directed by award-winner filmmaker Lucía Puenzo, whose 2007 feature “Xxy” won four prizes at the Cannes Festival. The series stars Chilean Oscar-nominated “A Fantastic Woman” lead actress Daniela Vega in a story of a Catholic school girl who starts a protest against a deadly online game in which men are recruited to commit acts of violence towards women. The girl disappears and her story goes viral when a video of...
- 1/24/2020
- by Jamie Lang
- Variety Film + TV
BUENOS AIRES -- Dutch production house Eyeworks is continuing its aggressive expansion into the global television market with the acquisition of Cuatro Cabezas, one of the most influential and award-winning production companies in the Spanish-speaking world.
The agreement will team the Dutch reality giant with the Argentine firm best known for its innovative and creative aesthetic approach on nonfiction programs like "Caiga Quien Caiga (CQC)," "The Team" and "E-24".
"CQC", a popular political satire show, has been adapted in Spain, Italy, France, Israel and Chile and nominated for numerous International Emmy awards. Cuatro Cabezas also produces original programming for HBO, MTV, Discovery Channel, TNT and others.
Founders Diego Guebel, a producer-director, and television and radio host Mario Pergolini will continue to oversee day-to-day operations.
"We are excited because we will remain independent and will still be responsible for running the company, but thanks to Eyeworks, we will have the tools to strengthen our presence in (new) markets and ... bring our content to new horizons," Guebel said.
The agreement will team the Dutch reality giant with the Argentine firm best known for its innovative and creative aesthetic approach on nonfiction programs like "Caiga Quien Caiga (CQC)," "The Team" and "E-24".
"CQC", a popular political satire show, has been adapted in Spain, Italy, France, Israel and Chile and nominated for numerous International Emmy awards. Cuatro Cabezas also produces original programming for HBO, MTV, Discovery Channel, TNT and others.
Founders Diego Guebel, a producer-director, and television and radio host Mario Pergolini will continue to oversee day-to-day operations.
"We are excited because we will remain independent and will still be responsible for running the company, but thanks to Eyeworks, we will have the tools to strengthen our presence in (new) markets and ... bring our content to new horizons," Guebel said.
- 8/16/2007
- The Hollywood Reporter - Movie News
Things get murky in "The Swamp" (La Cienaga). This Argentine film meanders through a morass of characters and situations without claiming any purpose other than to portray a vague sense of discontent and unease. Commercial prospects off the festival circuit are nonexistent. The film is playing in competition at the 2001 Berlinale.
Writer-director Lucrecia Martel, who received a Sundance/NHK Filmmakers Award in 1999 for her script, says she deliberately chose not to follow the "classic form" of narrative structure. Rather, through an accumulation of incidents, she wants to create a picture of middle-class alienation in which no one is certain of what roles he or she is supposed to play in life.
The movie sets up camp in two households during the doldrums of a hot, sticky summer in northwestern Argentina. One is ensconced at a country estate gone to seed where fiftysomething Mecha (Graciela Borges) and her hair-dyeing, layabout husband soak in enough alcohol to keep them more or less senseless. When she drunkenly falls and cuts herself badly, other family members, including her four accident-prone teenagers rally around her without much enthusiasm.
In the other household, Mecha's cousin Tali (Mercedes Moran) tries to keep peace among four noisy children and a husband who understandably wants to spend as little time as possible with the other branch of the family.
This nearly plotless film seemingly was made without concessions to or even consideration of an audience. Lacking much in the way of connective tissue, "Swamp" at best establishes a mood of unsettled torpor.
The generations of this family seemingly move from aimless though often-destructive games of childhood into their disaffected teenage years, then on to an uncertain adulthood that bleeds into a middle age of booze-addled carelessness. There is little that excites pity or even concern.
Technical credits are only fair in a low-budget production that favors erratic hand-held camerawork and dismal, cluttered interior sets that distress the eye.
THE SWAMP (LA CIENAGA)
Lita Stantic and 4 Cabezas Films
Producers: Diego Guebel, Ana Aizenberg,
Mario Pergolini
Screenwriter-director: Lucrecia Martel
Director of photography: Hugo Colace
Art director: Graciela Oderigo
Editor: Santiago Ricci
Color/stereo
Cast:
Mecha: Graciela Borges
Tali: Mercedes Moran
Gregorio: Martin Adjemian
Jose: Juan Cruz Bordeu
Rafael: Daniel Valenzuela
Momi: Sofia Bertolotto
Gregorio: Martin Adjemian
Running time -- 100 minutes
No MPAA rating...
Writer-director Lucrecia Martel, who received a Sundance/NHK Filmmakers Award in 1999 for her script, says she deliberately chose not to follow the "classic form" of narrative structure. Rather, through an accumulation of incidents, she wants to create a picture of middle-class alienation in which no one is certain of what roles he or she is supposed to play in life.
The movie sets up camp in two households during the doldrums of a hot, sticky summer in northwestern Argentina. One is ensconced at a country estate gone to seed where fiftysomething Mecha (Graciela Borges) and her hair-dyeing, layabout husband soak in enough alcohol to keep them more or less senseless. When she drunkenly falls and cuts herself badly, other family members, including her four accident-prone teenagers rally around her without much enthusiasm.
In the other household, Mecha's cousin Tali (Mercedes Moran) tries to keep peace among four noisy children and a husband who understandably wants to spend as little time as possible with the other branch of the family.
This nearly plotless film seemingly was made without concessions to or even consideration of an audience. Lacking much in the way of connective tissue, "Swamp" at best establishes a mood of unsettled torpor.
The generations of this family seemingly move from aimless though often-destructive games of childhood into their disaffected teenage years, then on to an uncertain adulthood that bleeds into a middle age of booze-addled carelessness. There is little that excites pity or even concern.
Technical credits are only fair in a low-budget production that favors erratic hand-held camerawork and dismal, cluttered interior sets that distress the eye.
THE SWAMP (LA CIENAGA)
Lita Stantic and 4 Cabezas Films
Producers: Diego Guebel, Ana Aizenberg,
Mario Pergolini
Screenwriter-director: Lucrecia Martel
Director of photography: Hugo Colace
Art director: Graciela Oderigo
Editor: Santiago Ricci
Color/stereo
Cast:
Mecha: Graciela Borges
Tali: Mercedes Moran
Gregorio: Martin Adjemian
Jose: Juan Cruz Bordeu
Rafael: Daniel Valenzuela
Momi: Sofia Bertolotto
Gregorio: Martin Adjemian
Running time -- 100 minutes
No MPAA rating...
Things get murky in "The Swamp" (La Cienaga). This Argentine film meanders through a morass of characters and situations without claiming any purpose other than to portray a vague sense of discontent and unease. Commercial prospects off the festival circuit are nonexistent. The film is playing in competition at the 2001 Berlinale.
Writer-director Lucrecia Martel, who received a Sundance/NHK Filmmakers Award in 1999 for her script, says she deliberately chose not to follow the "classic form" of narrative structure. Rather, through an accumulation of incidents, she wants to create a picture of middle-class alienation in which no one is certain of what roles he or she is supposed to play in life.
The movie sets up camp in two households during the doldrums of a hot, sticky summer in northwestern Argentina. One is ensconced at a country estate gone to seed where fiftysomething Mecha (Graciela Borges) and her hair-dyeing, layabout husband soak in enough alcohol to keep them more or less senseless. When she drunkenly falls and cuts herself badly, other family members, including her four accident-prone teenagers rally around her without much enthusiasm.
In the other household, Mecha's cousin Tali (Mercedes Moran) tries to keep peace among four noisy children and a husband who understandably wants to spend as little time as possible with the other branch of the family.
This nearly plotless film seemingly was made without concessions to or even consideration of an audience. Lacking much in the way of connective tissue, "Swamp" at best establishes a mood of unsettled torpor.
The generations of this family seemingly move from aimless though often-destructive games of childhood into their disaffected teenage years, then on to an uncertain adulthood that bleeds into a middle age of booze-addled carelessness. There is little that excites pity or even concern.
Technical credits are only fair in a low-budget production that favors erratic hand-held camerawork and dismal, cluttered interior sets that distress the eye.
THE SWAMP (LA CIENAGA)
Lita Stantic and 4 Cabezas Films
Producers: Diego Guebel, Ana Aizenberg,
Mario Pergolini
Screenwriter-director: Lucrecia Martel
Director of photography: Hugo Colace
Art director: Graciela Oderigo
Editor: Santiago Ricci
Color/stereo
Cast:
Mecha: Graciela Borges
Tali: Mercedes Moran
Gregorio: Martin Adjemian
Jose: Juan Cruz Bordeu
Rafael: Daniel Valenzuela
Momi: Sofia Bertolotto
Gregorio: Martin Adjemian
Running time -- 100 minutes
No MPAA rating...
Writer-director Lucrecia Martel, who received a Sundance/NHK Filmmakers Award in 1999 for her script, says she deliberately chose not to follow the "classic form" of narrative structure. Rather, through an accumulation of incidents, she wants to create a picture of middle-class alienation in which no one is certain of what roles he or she is supposed to play in life.
The movie sets up camp in two households during the doldrums of a hot, sticky summer in northwestern Argentina. One is ensconced at a country estate gone to seed where fiftysomething Mecha (Graciela Borges) and her hair-dyeing, layabout husband soak in enough alcohol to keep them more or less senseless. When she drunkenly falls and cuts herself badly, other family members, including her four accident-prone teenagers rally around her without much enthusiasm.
In the other household, Mecha's cousin Tali (Mercedes Moran) tries to keep peace among four noisy children and a husband who understandably wants to spend as little time as possible with the other branch of the family.
This nearly plotless film seemingly was made without concessions to or even consideration of an audience. Lacking much in the way of connective tissue, "Swamp" at best establishes a mood of unsettled torpor.
The generations of this family seemingly move from aimless though often-destructive games of childhood into their disaffected teenage years, then on to an uncertain adulthood that bleeds into a middle age of booze-addled carelessness. There is little that excites pity or even concern.
Technical credits are only fair in a low-budget production that favors erratic hand-held camerawork and dismal, cluttered interior sets that distress the eye.
THE SWAMP (LA CIENAGA)
Lita Stantic and 4 Cabezas Films
Producers: Diego Guebel, Ana Aizenberg,
Mario Pergolini
Screenwriter-director: Lucrecia Martel
Director of photography: Hugo Colace
Art director: Graciela Oderigo
Editor: Santiago Ricci
Color/stereo
Cast:
Mecha: Graciela Borges
Tali: Mercedes Moran
Gregorio: Martin Adjemian
Jose: Juan Cruz Bordeu
Rafael: Daniel Valenzuela
Momi: Sofia Bertolotto
Gregorio: Martin Adjemian
Running time -- 100 minutes
No MPAA rating...
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.