Mexican filmmaker Sofia Auza will introduce her 2019 short debut feature, “Adolfo,” produced by Migrant, to buyers at MIPCANQUE.
Starring Juan Daniel García Trevino – also in Netflix’s “I’m Not Here Anymore” – and Rocio de la Magna, it sees two strangers meet at a bus stop, or perhaps on the best night of their lives.
Hugo is on his way to his father’s funeral, Momo just got out of rehab. Together, with one goal in mind, they embark on an epic adventure to find a new home for a cactus named Adolfo.
“Adolfo is an integral part of the story!’ says Auza Difference.
“That’s one thing Hugo inherited from his father. It’s not flowery, it’s not exactly beautiful. He describes it as the ugliest plant in the world, but he is not ready to give it up. This ‘ugly’ cactus can survive almost anything, it is very hardy. It will mean something else to Momo.
“Sometimes you meet people and that brief moment changes your outlook on life. Or it can help you notice things you didn’t notice before.
“Adolfo” was produced by Fremantle and Bron-backed Refugee.
“Cinema has always been central to why we do what we do,” said CEO Camila Jimenez-Villa.
It was always our plan to make a feature film, although it made sense that our knowledge of the market would start with a series. We always look for voices and stories that are important to tell.
The company is currently expanding its film slate on the commercial and indie side, she said, teasing future collaborations with the likes of Jimena Montemayor (“Trails of the Wind,” “Señorita 89”).
As well as Oza’s next collaboration with The Immigrant, a new series called “Yellow” is currently in post-production for Lionsgate+ and is expected to be released early next year.
“It’s a beautiful, beautiful show. This afternoon we actually talked about a couple of episodes that we could develop together,” Jimenez-Villa said.
“We want to support people like Sophia for as long as she’s with us. She’s a special talent and a special person. If she’s making cupcakes, we’re going to support her.”
Oza wanted to combine humor with the “dark, serious issues” her characters deal with.
“It’s an interesting tone for a Mexican film. “Sometimes it feels like all we have are these two extremes: strong dramas or silly comedies,” she said.
“I wrote the script when I was still living in Vancouver. In the original script, Hugo misses the last train, but now it’s a bus because there are no trains in Mexico. For me, it wasn’t that important to feel ‘Mexican’. It was more about making you feel like you were there with these characters.
“We wanted to make a film that was authentic and had a Mexican voice behind it, but that felt very universal and different. It’s about meeting a Mexican audience, seeing a world that you know, but the time and place is not clearly defined,” Jiménez-Villa said.
“A lot of people ask. [the story] It comes from my personal experience,” says Auza.
“I wanted to express this feeling of spending the night with someone, maybe when relationships are a little deeper and the light shines only on the most important places. Everything else disappears and you can have these honest conversations.”
“To me, it’s a story about how people come into your life and maybe you get a part of them and they get a part of you. But letting go is also important in order to move forward.
Our focus is on series, but we are always open to exploring other types of content as long as there is a strong creative association that fits our topic. Latin America and American Hispanics.
Fremantle plans to target a few key platforms that appreciate the “creators’ artistic vision and real-world authenticity” and promote the film at popular festivals.
“When we first read the script, there was an immediate connection and we were inspired by the immigrant’s desire to bring it to life. Our plans are parallel to the story: just like Hugo we want to find the right home for ‘Adolfo’.