{"id":2002,"date":"2026-03-09T07:41:43","date_gmt":"2026-03-09T07:41:43","guid":{"rendered":"https:\/\/owspakistan.com\/?p=2002"},"modified":"2026-03-09T07:41:43","modified_gmt":"2026-03-09T07:41:43","slug":"malaga-maff-alberto-amman-catalina-sopelana-1236681986","status":"publish","type":"post","link":"https:\/\/owspakistan.com\/?p=2002","title":{"rendered":"Alberto Ammann, Catalina Sopelana, Female Directors"},"content":{"rendered":"
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\n\tFeaturing projects with \u201cNarcos’\u201d Alberto Ammann<\/a> and \u201cThe Eternaut\u201d star Cesar Troncoso, plus Catalina Sopelana<\/a>, who broke out in \u201cThe Crystal Cuckoo\u201d and \u201cThe Gardener,\u201d and Jaime Vadell, Pinochet in Pablo Larr\u00e1in\u2019s \u201cThe Count,\u201d the M\u00e1laga Festival Fund & Co Production Event (MAFF<\/a>), packs an unprecedented star punch.<\/p>\n

\n\tFeaturing as part of the M\u00e1laga Festival\u2019s MAFIZ industry zone, MAFF\u2019s star wattage also bears testimony to the creation of a worldwide Spanish-language star system by global streamers, led by Netflix. \u00a0<\/p>\n

\n\tDirectors of MAFF projects take in Mat\u00edas Bize (\u201cThe Life of Fish\u201d), \u201cI\u2019m Gilda\u201d helmer Lorena Mu\u00f1oz and Javier Polo, who made a splash at SXSW with the faux naif, pastel color-popping mockumentary hybrid \u201cThe Mystery of the Pink Flamingo.\u201d Producers include Cindy Teperman at CT Producciones, part of Infinity Hill, behind \u201cArgentina, 1985\u201d and Mostra Cine, which produced \u201cThe Freshly Cut Grass\u201d with Martin Scorsese and Ozcar Ram\u00edrez at Mexico\u2019s Arte Mec\u00e1nica, behind \u201cOmnibus Short Plays,\u201d featuring pieces by Gaspar N\u00f3e and Carlos Reygadas, and Cannes Festival-selected \u201cDays of Grace.\u201d\u00a0 \u00a0<\/p>\n

\n\tIf there is another trend, however, it\u2019s the number of potentially notable feature debuts from female directors, mostly, but not all, coming from Spain. These range from the directorial debut of \u201cWarrior Nun\u201d star Olivia Delc\u00e1n, outstanding as an actress in \u201cIsla Bonita,\u201d to the first solo feature by Argentina\u2019s Romina Tamburello, co-director of \u201cVera and the Pleasure of Others,\u201d a Mar del Plata 2023 best director winner and Vancouver Award Winner; to Barcelona\u2019s Adriana Arratia, now expanding her acclaimed short \u201cDeath in Torrevieja,\u201d a neo-quinqui take on life on the margins made with style and social grit and to Madrid\u2019s Teresa Carril, whose co-directed \u201cZalamero\u201d was described as a Gen Z \u201cSummer Night\u2019s Dream.\u201d\u00a0<\/p>\n

\n\tMovies from Spain, Portugal and Latin America \u2013 the territories sourced by MAFF\u2013\u00a0 are now firing on multiple cylinders. MAFF serves testimony.\u00a0<\/p>\n

\n\tMAFF 2026 Projects:<\/strong><\/p>\n

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\t\t\t\t\tLa Hija Bastarda<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cThe Bastard Daughter,\u201d<\/strong> (\u201cLa Hija Bastarda,\u201d Olivia Delc\u00e1n, Spain)<\/p>\n

\n\tStarring two-time Goya Award and San Sebasti\u00e1n best actress winner Nora Navas as a woman at 56, whose mother has just died, doesn\u2019t know if she wants her daughter back home but does know that she is going to rip things up. A \u201csharp, free-spirited, and unpredictable tragicomedy,\u201d project which ticks multiple right boxes: an Atl\u00e0ntida Mallorca Talent Lab winner, distribution by Alcarr\u00e0s producer Elastica Films and production by Solita Films (\u201cThe Awakening of the Ants,\u201d \u201cThe Fishbowl). \u00a0 \u00a0<\/p>\n

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\t\t\t\t\tCaprices (Caprichos)<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cCaprices\u201d<\/strong> (\u201cCaprichos,\u201d Teresa Carril, Spain) \u00a0<\/p>\n

\n\t\u201cA comedy about the \u2018villain\u2019 of the story,\u201d says Carril. Ambitious, capricious, Catalina is accustomed to getting her way, until her life in Spain implodes forcing her to flee to Cuba, to confront her mistakes, guilt and need to rebuild her entire life. \u201cA film grounded in the constant doubt and contradiction that define ambitious, capricious people. Carril\u2019s debut after medium-feature \u201cZalamero\u201d and 2025 Havana-set short \u201cUna broma colosal,\u201d ribbing the pretentiousness of filmmakers, and notable for its style and large sense of humor.\u00a0<\/p>\n

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\t\t\t\t\tCarreau \/ Carro Seco<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cCarreau,\u201d<\/strong> (\u201cCarro Seco,\u201d Javier Polo, Spain)<\/p>\n

\n\t\u201cIf only a serial killer could solve the real estate crisis?\u201d The project\u2019s logline asks. A self-styled Robin Hood takes out the perpetrators of gentrification, with two charismatic cops hunting him down. From Javier Polo, who made a splash with his SXSW-selected faux naif, pastel color popping mockumentary hybrid \u201cThe Mystery of the Pink Flamingo.\u201d<\/p>\n

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\t\t\t\t\tDeath in Torrevieja
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\n\t\u201cDeath in Torrevieja,\u201d<\/strong> (\u201cMuerte en Torrevieja,\u201d Adriana Arratia, Spain)<\/p>\n

\n\tAnother awaited feature debut, in the wild summer of Torrevieja, Chetia, a single mother of an unwanted child, battles to makes end meet, hustling and scamming tourists with illegal balconing bets. \u201cA fresh female perspective to Spanish \u201cquinqui\u201d cinema, with a bold contemporary voice, mixingraw realism with a vibrant aesthetic inspired by today\u2019s youth culture. Produced by new talent axis Maqueta Films\/Nakamura Films, behind Alex Montoya\u2019s 2024 Malaga hit \u201cLa Casa.\u201d<\/p>\n

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\t\t\t\t\tDiamonds Are Forever (Diamante, O Bailarina)<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cDiamonds are Forever\u201d <\/strong>(\u201cDiamante, o Bailarina,\u201d Pedro Jorge, Brazil)<\/p>\n

\n\tEm\u00edlio, a black gay man and drag queen, joins a boxing gym to reconnect with his estranged, homophobic father, Cez\u00e3o. Despite conflict, boxing brings them closer. Directed by Jorge, behind Globoplay title \u201cThe Day My Life\u201d changed, produced by Paideia Filmes (\u201cMy Body is Political\u201d) and highlighted by Variety<\/em><\/a> at the 2025 Guadalajara Co-Production Meetings, where it won three prizes, including an invitation to MAFF.<\/p>\n

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\n\t\u201cEn Camino,\u201d <\/strong>(Guillermo Pi\u00f1on, Mexico)<\/p>\n

\n\tSix inhabitants of a paradisiacal coastal village initiate a pilgrimage on push bikes to save it from rising sea levels. The odyssey sparks no miracle but, yes, a collective rebirth. A feel good fiction road movie directed by Guillermo Pi\u00f1on, who helmed episodes of \u201cEl Luchador\u201d and docuseries \u201cLos Jefes del Rock,\u201d from renowned Mexican producer Ozcar Ram\u00edrez.\u00a0 \u00a0<\/p>\n

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\t\t\t\t\tHighway for Survival<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cHighway for Survival,\u201d<\/strong> (\u201cCarretera de Supervivencia,\u201d Rodrigo Garcia Chapet\u00f3n, Guatemala, Colombia)<\/p>\n

\n\tA shot of adrenaline at MAFF, billed as a neo-Western heist actioner. Two Tz\u2019utujil Maya brothers who, driven by desperation, begin robbing gas stations along the Pan-American Highway to pay off their father\u2019s hospital fees, bring the local governor. A \u201ccritique of a corrupt healthcare system and systemic violence and a visceral journey through a suffocating reality,\u201d says first feature director Garc\u00eda Chapet\u00f3n.<\/p>\n

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\t\t\t\t\tThe Hollows of the Moon<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cThe Hollows of the Moon,\u201d<\/strong> (\u201cLos Huecos de la Luna,\u201d Paula D\u2019Angelo Schmid, Peru)<\/p>\n

\n\tA taxi driver works 72 hours straight to pay off her debt to an illegal moneylender, descending into a spiral of madness and revenge. Lead produced by Suena Per\u00fa, which has Peru-Spain co-production \u201cUn hombre en un Puente\u201d in post. \u201cThis tense psychological thriller\u201d follows a \u201cfemale taxi driver in Lima, navigating a race-against-time story through a neo-noir lens,\u201d says D\u2019Angelo Schmid. \u00a0<\/p>\n

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\t\t\t\t\tHunting and fishing\/La caza y la pesca<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cHunting and Fishing\u201d<\/strong> (\u201cLa caza y la pesca,\u201d Victoria Andino, Argentina, Spain, Paraguay)<\/p>\n

\n\tAzucena (65) who lives a free and self-sufficient life on a river island, hunting and fishing, is joined by Carlos, retired, from the big city. They develop an unexpected relationship. \u201cA reflection on a mature woman\u2019s freedom and a man who slowly learns that love does not always follow the rules taught him,\u201d says Andino, behind prized doc series \u201cLas Tareas\u201d (2023). Produced by Argentina\u2019s 80 Mundos, Spain\u2019s Mallerich Films and Paraguay\u2019s Claudio Serv\u00edn R\u00edos Producciones.<\/p>\n

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\t\t\t\t\tT\u00e9mpanos (Icebergs)<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cIcebergs\u201d<\/strong> (\u201cT\u00e9mpanos,\u201d\u00a0 )<\/p>\n

\n\tIn Patagonia\u2019s mountains, Adelaida, the last of a Chilean\u00a0 indigenous people, resists relocation as a mining project threatens her ancestral land. She forms a fragile bond with grieving French anthropologist Julie. The feature debut of Gabriel Montiel, of Pehuenche origin, from Lucho Films, producer of \u201cGama de los Grises (2014), a Miami International best first feature and Toronto-selected \u201cLa Holandesa\u201d (2017).<\/p>\n

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\t\t\t\t\tLos Indecentes (The Indecents)<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cThe Indecents\u201d <\/strong>(Jean Michel Cerf, Uruguay)<\/p>\n

\n\tPedro, 45, a first-time theater teacher experiments with unconventional methods to prevent his class from being shut down with his losing his job. From Cerf, an AD in Uruguay (\u201cThe Moneychanger\u201d) and Brazil (\u201cLov3\u201d) and a co-director on Amazon Prime Series \u201cBarrabrava.\u201d Produced by Valentina Gedanke at Montevideo\u2019s Sue\u00f1o Cine, who backs projects that \u201caddress contemporary themes from an intimate, emotional, and generational perspective.\u201d<\/p>\n

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\t\t\t\t\tJe vous salue, Per\u00fa<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cJe Vous Salue, Per\u00fa\u201d <\/strong>(Yaela Gottlieb, Peru) \u00a0<\/p>\n

\n\t\u201cA portrait of contemporary cinema\u201d tracing via footage and present-day film the the trail in 1950s Peru of a little known visit by Jean-Luc Godard, a cousin of former Peruvian president Pedro Pablo Kuckzynski and nephew of a celebrated German doctor. A doc feature project from Gottlieb and producer Nicol\u00e1s Carrasco<\/a>, setting Godard\u2019s trip in its ideological historical context and \u201cexploring how images construct power, resistance and ways of inhabiting history.\u201d<\/p>\n

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\t\t\t\t\tThe Last Stand, Aqu\u00ed Me Bajo Yo<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tCubho Audiovisual<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cThe Last Stand,\u201d<\/strong> (Aqu\u00ed Me Bajo Yo,\u201d Mat\u00edas Bize, Chile)<\/p>\n

\n\tIn what is described as an \u201cintimate dramedy,\u201d Jaime Vadell (\u201cEl Conde,\u201d \u201cEl Club\u201d ) stars as a grandfather who decides to end his life \u201con his own terms,\u201d traping on a stormy night his granddaughter and his son, whom he hasn\u2019t seen in years. \u201cI\u2019ve talked about falling in love, separation, second chances, childhood, raising children, but never talked about the end of life. That\u2019s what motivates me most to do this project,\u201d says Bize.<\/p>\n

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\n\t\u201cLethargy,\u201d<\/strong> (\u201cLetargia,\u201d Fab\u00edan Su\u00e1rez, Cuba, Mexico, Colombia)<\/p>\n

\n\tAn actress in 1962 Cuban, as its missiles crisis rages, confuses her role in a film and real life. The fourth feature from S\u00faarez (\u201cCherri\u201d), produced by Ivette Liang, director of the Nuevas Miradas lab and producer of Natalia Santa\u2019s \u201cThe Dragon Defence,\u201d selected for Cannes\u2019 2017 Directors\u2019 Fortnight.<\/p>\n

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\t\t\t\t\tThe Living and the Ducks \/ Los Vivos y los Patos<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cThe Living and the Ducks,\u201d <\/strong>(\u201cLos Vivos y los Patos,\u201d Mexico)<\/p>\n

\n\tThe feature debut of Jos\u00e9 Luis Isoard Arrubarrena, whose trans actress centered \u201cThe Short Film\u201d played Cannes Critics\u2019 Week<\/a> in 2023, Burning duck manure, Do\u00f1a Bruna and her niece Eugenia manage to bring several members of their community back from the dead. Their secrets, grudges, and desires haven\u2019 changes one iota. \u201cThis film takes place in a fictional town shaped by magical realism,\u201d allowing \u201cthe absurd, the poetic, and the political to coexist without hierarchy,\u201d says producer Paloma Petra.\u00a0 \u00a0<\/p>\n

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\t\t\t\t\tLatitudes<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cLatitudes\u201d<\/strong> (Pablo Malek, Peru)<\/p>\n

\n\tLucho, a young Peruvian rapper who grew up in Paris, returns to Peru, joins the country\u2019s Hip-Hop scene, discovering both social conflict and his origins. Produced by Jorge Constantino, ex Tondero development head and founder in 2022 of the highly active Meztizo Studios behind \u201cAstronauta \u201c(Per\u00fa, Uruguay, Colombia), \u201cDelivery Girl\u201d (Per\u00fa, Espa\u00f1a) and \u201cRaiz,\u201d a Berlin Festival GenerationKplus Special Mention winner.\u00a0<\/p>\n

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\t\t\t\t\tMenarquia \/ Menarche<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cMenarche\u201d <\/strong>(\u201cMenarqu\u00eda,\u201d Jairo Ramos, Panama)<\/p>\n

\n\tSet in rural Panama, soon after her father dies, the androgynous-looking Edna, 12, battles with her mother about the role she should have on their poultry farm. From Panama\u2019s Infocus Video Factory Cine & TV (\u201cPanam\u00e1 Radio,\u201d \u201cMe dicen el Panzer\u201d), Ramos\u2019 feature debut, with ace DP Inti Briones (\u201cToo Late to Die Young\u201d) on board. \u201cThis story is an invitation to explore what it means to grow, change and affirm oneself in a context which many times discriminates against difference,\u201d Ramos says.<\/p>\n

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\t\t\t\t\tThe Other Gomez \/ El Otro Gomez<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cThe Other G\u00f3mez\u201d<\/strong> (Martin Aliaga, Brazil, Argentina)<\/p>\n

\n\tFronted by Alberto Ammann (\u201cNarcos\u201d) and C\u00e9sar Troncoso (\u201cThe Eternaut\u201d), one of biggest commercial plays at MAFF. William Puente, an anonymous accountant, is mistaken for Mr. Gomez, a lobbyist wanted for regulatory offences and shadowy ties. \u201cHe discovers in power an irreversible vertigo,\u201d says the synopsis. Lead produced by S\u00e3o Paulo\u2019s Ark Entertainment , headed by Mariana Ricciardi whose credits include Oscar shortlisted \u201cClandestine Childhood\u201d and B.O. smash \u201cMy Sister and I.\u201d<\/p>\n

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\t\t\t\t\tThe Friends of My Parents \/ Los Amigos de Mis Padres<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cMy Parents\u2019 Friends\u201d <\/strong>(\u201cLos Amigos de Mis Padres,\u201d Romina Tamburello, Argentina, Uruguay, Spain)<\/p>\n

\n\tCecilia, 36, separating quietly, is asked by her parents to help them find \u201creliable\u201d swinger clubs. Visiting places, she discovers \u201ca universe of diverse sexualities, nurturing relationships, and unexpected friendships,\u201d in sharp contrast to her own emotional breakdown. An \u201cintimate, autobiographical comedy,\u201d says Tamburello, \u201cawkward\u201d and \u201cluminous\u201d adds producer Santiago King, \u201cabout ageing bodies and unyielding desires that explores one of the last remaining taboos: parental sex.\u201d Definite breakout potential. \u00a0<\/p>\n

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\t\t\t\t\tAvenida Peru \/ Peru Avenue<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cPeru Avenue\u201d<\/strong> (\u201cAvenida Peru,\u201d Dennis Perinango N\u00fa\u00f1ez, Peru)<\/p>\n

\n\tTwo men\u2019s covert relationship is damned by a class gulf. An early project from Peru\u2019s Lecinema Producciones in Chiclayo. Presented at Sanfic Industria, \u201ca love story between two men shaped by class tensions on Peru\u2019s northern coast, a territory rarely portrayed in contemporary Latin American cinema,\u201d says producer Jorge G. Casta\u00f1eda.<\/p>\n

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\t\t\t\t\tReina\u2019s Legacy (El Legado de la Reina)<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cReina\u2019s Legacy\u201d<\/strong> (\u201cEl Legado de Reina,\u201d Tatiana Salam\u00edn, Panama)\u00a0<\/p>\n

\n\tAn intimate doc-feature take on renowned Panamanian anthropologist Reina Torres de Ara\u00faz (1932-82), who battled the plundering of artifacts from pre-1492 tombs, told from th POV of a soon who lost her mother too soon. \u201cBy weaving together past and present, the film reflects on grief and opens a broader question about what endures after death,\u201d says Salam\u00edn. Produced by Carlos Harbar\u00a0at Producciones Harcom.<\/p>\n

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\t\t\t\t\tStella Maris<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tStella Maris. Credit: Elisa Bogalheiro<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cStella Maris,\u201d <\/strong>(Laura Mu\u00f1oz Lia\u00f1o, Spain, Portugal)<\/p>\n

\n\tMoved at Locarno\u2019s 2025 Match Me! and now tapping a \u20ac400,000 ($464,000) pre-buy from pubcaster Canal Sur. Last year, set in summer 1984 on Spain\u2019s Isla Cristina, a film that explores a real-life, devastating fishing tragedy from an intimate, feminine perspective, of the women who \u201cstayed, waited, and endured,\u201d says producer Elisa Bogalheiro at Portugal\u2019s Mar\u00eda Zimbro. Co-produced by Spain\u2019s Producciones 24 Violets, headed by Laura Mu\u00f1oz Lia\u00f1o who scored an early hit with 2009\u2019s \u201cVioletas.\u201d \u00a0 \u00a0 \u00a0<\/p>\n

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\t\t\t\t\tEl Sabor del Jocote<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cThe Taste of Jocote\u201d <\/strong>(\u201cTitel: El sabor de Jocote,\u201d Tonio Hecker, Germany, Colombia)\u00a0<\/p>\n

\n\tFrom Nicaragua-born German Hecker, behind FARC-EP focused \u201cInsurgente\u201d doc feature, one of MAFF\u2019s biggest projects. Konrad, 24, drifts between Berlin\u2019s techno clubs and a slow self-destruction until summoned to identify a body that may be his mother\u2019s \u2013 a German internationalist guerrilla fighter who abandoned him when a child. It\u2019s not. But he follows her traces to the Micay River, confronting her political past and his own place in the world.<\/p>\n

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\t\t\t\t\tThe Valley of Echoes \/ El Valle de los Huesos<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cThe Valley of Echoes\u201d<\/strong> (\u201cEl Valle de los Huesos,\u201d Ad\u00e1n Ru\u00edz, Mexico)<\/p>\n

\n\tAt a high school in Apaxco, a teacher gives biology lessons\u00a0 assembling a skeleton made from bones found nearby. Meanwhile, a migrant searches for his missing daughter, a woman kills her husband after long abuse, and a miner slowly goes deaf from explosions. Ruiz\u2019s debut doc-feature \u201cexplores violence not as a sudden event, but as a social sickness that has become part of the daily landscape,\u201d he says.<\/p>\n

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\t\t\t\t\tVideoclub 2001 \/ Video Store 2001<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cVideo Store 2001\u201d<\/strong> (\u201cVideo Club 2001,\u201d Guillermo Polo, 2001)<\/p>\n

\n\tFast-rising star Catalina Sopelana (\u201cThe Crystal Cuckoo\u201d \u201cThe Gardener\u201d returns for a feature makeover of the same-titled hit short made as proof of concept and a winner of the Cinema Jove Premio Feroz. Billed as a feel-good dramedy, Sopelana plays Mila who inherits her father\u2019s video store. \u201cSet at the end of an era, the story blends dark humor and emotional realism to explore generational conflict, failure, and the need to belong,\u201d says Polo. \u00a0<\/p>\n

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\t\t\t\t\tTigre de Agua \/ Water Tiger<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cWater Tiger\u201d<\/strong> (aka \u201cSacrifice Zone,\u201d Chile)<\/p>\n

\n\tIn a coastal bay devastated by decades of industrial pollution, daughter Alba begins filming her surroundings with her grandfather\u2019s old camera. \u201c\u2018Water Tiger\u2019 is not only a film about environmental devastation \u2014 it is about inheritance, memory and the emotional landscapes shaped by invisible violence,\u201d says producer. Scheduled to shoot from August 2026\u00a0in the industrial coastal region of Quintero\u2013Puchuncav\u00ed, Chile.<\/p>\n

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\t\t\t\t\tWhy Did You Come Back Every Summer?<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cWhy Did <\/strong>You Come Back Every Summer?\u201d<\/strong>(\u201cPor Qu\u00e9 Volv\u00edas Cada Verano?\u201d, Lorena Mu\u00f1oz, Argentina, Spain)<\/p>\n

\n\tAt 19, Lourdes files a complaint about the sexual abuse she suffered during summer holidays from her uncle, the local police commissioners. She meets with hostility, and a questioning judicial system. Inspired by Bel\u00e9n L\u00f3pez Peir\u00f3\u2019s novel, a film not so much about abuse as complicit interests protecting the aggressor, Mu\u00f1oz has said. \u00a0<\/p>\n<\/div>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Featuring projects with \u201cNarcos’\u201d Alberto Ammann and \u201cThe Eternaut\u201d star Cesar Troncoso, plus Catalina Sopelana, who broke out in \u201cThe Crystal Cuckoo\u201d and \u201cThe Gardener,\u201d and Jaime Vadell, Pinochet in Pablo Larr\u00e1in\u2019s \u201cThe Count,\u201d the M\u00e1laga Festival Fund & Co Production Event (MAFF), packs an unprecedented star punch. Featuring as part of the M\u00e1laga Festival\u2019s<\/p>\n","protected":false},"author":1,"featured_media":2003,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[543,544,405,164,3,545,546,542,547,167,62],"tags":[537,538,539,540,541],"class_list":["post-2002","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-alberto-ammann","category-catalina-sopelana","category-entertainment","category-global","category-lifestyle","category-maff","category-malaga-film-festival","category-markets-festivals","category-matias-bize","category-netflix","category-news","tag-alberto-ammann","tag-catalina-sopelana","tag-maff","tag-malaga-film-festival","tag-matias-bize"],"jetpack_publicize_connections":[],"_links":{"self":[{"href":"https:\/\/owspakistan.com\/index.php?rest_route=\/wp\/v2\/posts\/2002","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/owspakistan.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/owspakistan.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/owspakistan.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/owspakistan.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2002"}],"version-history":[{"count":0,"href":"https:\/\/owspakistan.com\/index.php?rest_route=\/wp\/v2\/posts\/2002\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/owspakistan.com\/index.php?rest_route=\/wp\/v2\/media\/2003"}],"wp:attachment":[{"href":"https:\/\/owspakistan.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2002"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/owspakistan.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2002"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/owspakistan.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2002"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}