A Closer Look at the Program’s Projects

BUENOS AIRES, Argentina — One of the upbeat narratives at this year’s Ventana Sur market will kick in on Dec. 2 as animators, backed by Ibermedia Next, will talk about how they are using digital tools to free up and mix 2D and 3D, enhancing titles’ creativity. 

Some of the results – catch Ana Ramírez González’s entrancing Instagram work in progress teaser for “Agua Dulce,” for instance – are now being made known. Further results will be shown to potential financiers at Ventana Sur from both Ibermedia 2.0 and 3.0.

On Tuesday, a panel will examine the impact of Ibermedia 2:0, speakers taking in Ibermedia’s Víctor Herreruela, Jara Ayucar at Spain’s ICAA film agency, José Luis Farias at La Liga de la Animación Iberoamericana and Guillermo Garma, at Argentina’s INCAA film-TV agency.

A second panel will consider how Ibermedia Next has impacted creators’ work. Panelists are Asdrúbal Hiutzilhuitl Rivera, at México’s Sísmica Studio, Jonatan Guzmán, a producer at Polar Studio, also in México, Chile’s Bernardita Ojeda at Pájaro and Reyes Arnal, a producer, based at Spain’s La Mola Films.

Many of the projects in Ibermedia Next 2.0. combine 2D and 3D, which is fast becoming the default option for animation. 

“The most unique thing for the audience is Ana’s vision, the amazing style that we are working on, reflecting on a CGI environment with a 2D soul,” Hampa Studio’s Álvaro García, a co-producer on “Agua Dulce,” tells Variety.

The Ibermedia Next 2.0 lineup, the second of now three calls for submissions, also features the feature debut of celebrated stop-motion director Sofía Carrillo (“The Sad House,” “Cerulia”), “Insectario: Despertar,” backed by Mexico’s Pimienta Films, behind “Roma,” and Spain’s Inicia Films, a producer on Berlin Golden Bear winner “Alcarrás.” Penned by “The Dance of the 41” writer Monika Revilla, “”Insectario” already wowed when sneak peaked at the Quirino Awards. 

Already impressing Animation! in 2021 with its stunning visuals, “Hanta” is another Ibermedia Next 2.0 project. It is now selected for this year’s Animation! Annecy Works in Progress, and uses Blender for 3D modelling and animation, ensuring constant updates and flexible adaptation. “We will also incorporate Geometry Nodes and Grease Pencil to create painterly, analog-inspired post-production effects directly within the 3D workflow,” says director Emilio Ramos.

Both early images from projects and he comments of their makers suggest that the Ibermedia Net program is truly moving the needle on animation from Latin America, Spain and Portugal.   

“By pioneering the integration of VR and open-source tools into a professional pipeline, “Catwalk” shows how these new technologies can radically transform the production of animation, enabling us to complete a 13-minute film in just four months,” says Toni Mortero, the title’s co-director, TD and animation director.

The common aim of using new tools is to enhance projects’ creativity. High-tech on “The Day Ewan McGregor Introduced Me to His Parents,” for example, developed a proprietary R&D process for hand-drawn 2D animation, based entirely on interconnected open-source tools, optimizing resources, reducing costs and allocating more investment to the artistic area.

The aim on “Azul. The Last Seed” is to use the new tools to create more a tactile environment. “The puppets are made using a mix of traditional handmade techniques and 3D printing. We also integrate digital tracking of eye and mouth expressions onto the physical puppet faces, adding more detailed and flexible facial animations,” says says producer David Castro Gonzalez. “Additionally, we use photogrammetry to scan real objects and integrate them into the scenes, allowing us to create impossible camera shots on set.” 

However much the projects’ creators are excited about their new tech sandpit, many of the titles remain social issue. “The film was born from my need to contribute something to the change I feel is so necessary. A story that gives us hope to achieve that change, even if it’s small,” says Alice Romero, creator of “Azul. The Last Seed.”

A closer look at the 14 projects making up Ibermedia Next 2:0 and their technical experimentation:

“Agua Dulce,” (Ana Ramírez González, Spain, U.S.)

One of Ibermedia Next 2.0’s most anticipated titles, and the latest from Ramírez González, a former Pixar Animation Studios story artist. Here she has been a beneficiary of a Latino Film Institute Spark Animation Fellowship, supported by the Netflix Fund for Creative Equity. In “Agua Dulce,” a curious water droplet unexpectedly ventures beyond its idyllic lily pond, broadening its understanding and admiration of the world. Channeling Ramírez González’s illustrator passions, the title is a “unique fairytale” which talks about “self discovery and personal growth,” says Álvaro García, at co-producer Hampa Studio in Spain’s Valencia.        

“Azul, the Last Seed,” (“Azul. La última semilla,” Aline Romero, Spain, Mexico) 

In a world devastated by drought, Azul, a young guardian,  embarks on an uncertain journey to save the last seed – the final spark of life in their world. Combining stop-motion animation with 3D backgrounds created and composited in Blender, and using Unreal Engine to enhance lighting and depth, “Azul. The Last Seed” aims for “a visual harmony between characters and backgrounds for everything to feel tactile,” says producer David Castro. Mansalva Films (Spain), Polar Studio (Mexico) and Ácido Cítrico (Spain) produce. 

“Calm, (Cuentos de amor de locura y muerte,” (María Ruisánchez Ortega, Álvaro León Rodríguez, Spain, Mexico, Argentina)

The last moments of Horacio Quiroga, described by this short’s makers as Latin America’s Edgar Allan Poe. Delving into mental health, suicide, euthanasia and a respect for nature, they add, a short film developed in 2D and 3D via Grease Pencil, stop motion, 3D, CNC, Quill y Titl Brush. The aim is to use the short to make a feature, says Rodríguez. Lamola Studio, ojoraro.tv and Sísmica produce.

“Carmen,” (Cecilia Puglesi, Spain)

From the Canary Islands’ Tinglado Films,  behind Annecy Contrechamp player “Black Butterflies,” set in 1935 and inspired by the director’s great aunt, who becomes one of the first female accountants in Mendoza, Argentina. “Carmen” uses traditional frame by frame 2D, integrated non-photorealistic 3D backgrounds and objects using Blender and Grease Pencil. “Violent terrible tales which so many women live tend to be forgotten. This singular story remembers Carmen Martínez,” says Tinglado’s Miguel Ángel Pérez Quintero.   

“Catwalk,” (Lidia Luna, Spain, Brazil)

The first audiovisual production ever made using Grease Pencil VR, now a 13-minute work-in-progress short but producers La Chula Films (Spain) Hilda Motion (Brazil) hope for A fest run which will bring wider attention to the project. A call-center operator suffers a terrible accident at a nightclub, causing her consciousness to travel into the body of a stray cat. Awarded Best Young Talent Series Project at Spain’s Weird Market in 2024 and a Suzanne Award for Best Design, Blender Conference 2024. Set up at Madrid’s La Chula Films, behind “Roberto,” from Carmen Córdoba, preselected for the Oscars. 

“Civil Guard in New York,” (“Un Guardia Civil En Nueva York,” Spain)

Created by Aitor Herrero. What went through Federico García Lorca in his last moments? One possibility is imagined in this fantastic short film, mixing motion capture, AI for motion tracking for a six-minute short with flamenco, contempo music influence. “Although I based the text on a combination of Federico García Lorca’s works ‘El Público’ and ‘Poeta en Nueva York,’ this tragicomic story is not a literal adaptation or a biopic, but it does dive into Lorca’s personality and obsessions,” said Herrero. Produced by celebrated label Sultana Films (“The Sultana’s Dream”) plus AupaStudio (Spain), Planet 141 (Colombia), Kraneo (Mexico) and ArtStep (Armenia). 

“The Day Ewan McGregor Introduced Me to His Parents,” (“El día en que Ewan McGregor me presentó a sus padres,” Lyona. Spain).

An almost finished animated feature. Marta, 40, can’t conceive naturally so decides on in-vitro fertilization. “Through humor, music  and her visual imagination, the director constructs an honest perspective on love, autonomy, and contemporary motherhood,” the synopsis runs. “2D animation allows me to transform pain, the body, and desire into vivid, intimate and human images,” director Marta Puig (“Lyona”) says. Mr Miyagi Films (“The Platform,” “The Virgin of the Quarry Lake”), and Portugal’s Sardinha em Lata produce.

“Ezkazu Souls,” (“Las Almas de Ezkazu,” Nicholas Hooper H., Chile, Spain) 

An animated docuseries plumbing the lives and deaths of six environmental activists in Latin America and the ongoing battle for justice for the territories they defend. “An urgent project that confronts a pressing reality that deserves a place in contemporary cinema,” says Hooper H. “The intersection of documentary and animation allows us to create visual universes and symbolic concepts deeply rooted in our territory.” Producers Cubho (Chile), Forward Films and Polygonal Factory in Spain and Leste (Brazil) are finalizing a pilot episode and have shared in exclusivity with Variety two stills from Ep. 1. 

“Hanta,” (Emilio Ramos, Mexico, Argentina, Spain, Chile) 

In 1968, suffering state censorship, a writer, Bohumil, secretly pens a novel about Hanta who prints uncensored books. Bohumil’s reality and Hanta’s fiction begin to intertwine….” A adult audience fantasy feature from Emilio Ramos, a veteran short filmmaker known for the Annecy selected “Niebla” (2006) and “Nos faltan” (2016). Produced by  Tourmalet Films (Spain), Fedora Productions and Casadelou and Atotonilco in México, Argentina’s Osa Estudio and GVG Producciones in Chile. 

“Insectario: Despertar,” (Sofia Carrillo, Mexico, Spain)

“To a certain extent, a prolongation of the world of ‘Cerulia,’ but with an independent story which stands by itself,” Carrillo has told Variety about the tale of an entomologist’s assistant who must free all the insects in the world, which are trapped in an insectarium. Carrillo will use Facebook Placement to work on faces of puppets, representing humans. Iberseries Next has introduced the makers to new technologies and has worked as an accelerator of the project, Inicia Films’ producer Valérie Delpierre has noted. 

“Pink Punk Delta,” (aka “El Mar y la Delta,” Alba Sotorra, Spain, Chile, )

Inspired by producer Alba Sotorra’s own childhood, the story of a young girl living on Spain’s Ebro Delta who opposes a devastating water drainage scheme. The future also talks about the need to connect with ourselves, nature and other people, says Sotorra. The feature will use motion capture for animation and 2D shades for 3D and highly detailed 2D backgrounds, Sotorra has said. Co-produced by Alba Sotorra S.L., Slovakia’s Artichoke, Chile’s Pájaro and Colombia’s Bombillo Amarillo.     

“Star Light,” (Caroline Directed by Diego Guzmán & Julinho Espinoza, Spain, Colombia, Peru)

Elida, 8, plays the charango in the Andes, but suffers an epileptic seizure while playing and blaming the instrument. However, taken to a hospital she gets to know Estrella, a girl with cancer. Their empathy and friendship help Elida reconnect with music and accept her condition. “We explored the use of Blender for a traditional, hand-painted style of ink & paint, however we decided to proceed with other more established methods due to us not achieving the intended look with the current state of the tool,” says producer Alfonso Casado. Produced by USER T38 (Spain), Hierroanimacion (Colombia) and Apus Estudio (Peru).

“La Van,” (Alessio del Pozo Temoche, Portugal, Peru, Brazil) 

One of the finalists at Nickelodeon’s Intergalactic Shorts Program 2.0,  a series turning on the universal fear of growing. Mixing 2D cut-out, Blender-Grease Pencil and traditional 3D backgrounds, it is lead by Portugal’s Sardinha em Lata (“My Grandfather Used to Say He Saw Demons”) with Peru’s Apus Animación y Contenido and Chatrone Latino in Brazil. 

“Vila Marela,” (Michele Massagli, Portugal, Peru, Brazil)

Made for family audiences and making use of 2D, cut out, 3D and AI, a potential series that explores the resolution of conflicts and discovery of objects. Lead produced by Portugal’s Fly Moustache, born from an original idea by Brazil’s Combo Estudio and made in collaboration with Peru’s Maneki Studio Animation, the partners are currently focused on creating a pilot.