The Circuit

by Robert Koehler

Rodrigo Pla's intense drama, "The Desert Within," dominated prizes handed out at close of the 23rd Guadalajara fest. Pla's second pic, about a guilt-ridden father who drags his family to the dry Mexican hinterlands to build a church, had been widely tipped for major awards in Mexican categories, along with Fernando Eimbcke's well-received "Lake Tahoe."

"Desert" scored jury nods for best pic, actor (Mario Zaragoza), actress (Delores Heredia, recognized for three pics in which busy thesp starred), script and cinematography, along with aud award. Eimbcke scored helming prize, while both pics shared jury nod as recommended Mexican pics to the next round of Golden Globes. Top rookie effort went to writer-director Emilo Portes for broad spoof "Meet the Head of Juan Perez."

Iberoamerican prizes proved more controversial. Pic nod went to Gerardo Olivares' Spanish drama about Euro-bound African refugees, "14 Kilometers," while Ishtar Yasin's greatly admired Berlin Forum import from Costa Rica, "The Path," drew special mention honors. Vet Argentine helmer Eliseo Subiela surprised by scoring directing gong with his ultra-sexy "Don't Look Down," as did Spain's Iciar Bollain and co-writer Tatiana Rodriguez for "Mataharis." More shocking was recognition of widely reviled Colombian pic and Sundance preem, "Dog Eat Dog" (for Marlon Moreno's lead perf).

Jury spread around awards to other pics, including Luis Filipe Rocha's Portuguese drama, "The Other Side" (special mention and actress Maria D'Aires), Uruguayan team Cesar Charlone's and Enrique Fernandez' "The Pope's Toilet" (first film) and Pedro Farkas' Bossa Nova love letter, "Out of Tune" (cinematography and Globes mention, which was shared with "Pope's Toilet").

Notably absent from prize parade were Albertina Carri for her admirable "The Anger" and Berlin Golden Bear winner "The Elite Squad."

Fest launched on a decidedly upbeat mood with ideal opening nighter of Miguel Kohan's elegant tango concert doc, "Café de los Maestros," in Guadalajara's massive new 10,000 seater Telmex Auditorium. Pic also served as starter dish for a generous and well-selected banquet of Argentine pics repping both the current crop of cineastes as well as past generations, along with tributes to vet helmers Fernando Solanas and Fernando Birri and producer Lita Stantic.

Competition sections brought the mood down, though, with several Mexican premieres that either missed the mark but displayed considerable production values or were so framed for commercial play that their placement inside a fest was distinctly odd. Latter reflects fact that Guadalajara, as a fest and market in March, shows every available Mexican feature that's in the can and not waiting word from Cannes.

Still, locals could crow over two world-class works from Eimbcke and Pla. Event, boasting Latin America's biggest market, claimed a 12% uptick in attendance, even though there were three fewer Mexican pics (shorts and features) than in last year's edition.

Iberoamerican slate contained somewhat better offerings, including several Berlin imports ("The Elite Squad," "The Path," "The Anger," Lucia Murat's (pictured) Rio musical "Another Love Story"). Subiela's latest, though no world-beater, easily ranks as one of the most erotic mainstream pics of recent years.

Eight-day affair was marked with special nods to Mexican comic idol Tin-Tan and producer Bertha Navarro as well as a live-orchestra screening of Abel Gance's "Napoleon."