IFF Panama<\/a>\u2019s extensive showcase of titles in development and post from female directors in Central America and the Caribbean.<\/p>\n\n\t\u201cSirens\u201d reprises the focus on women\u2019s experiences seen in Latishev Salazar\u2019s first two fiction features \u201cMedea\u201d (2017), a San Sebasti\u00e1n Horizontes Latinos contender, and \u201cDelirio,\u201d acquired for international sales by Patra Spanou.<\/p>\n
\n\tIn the early stages of development, \u201cSirens\u201d picks up on the gothic horror of \u201cDelirio\u201d (2024), moving to symbolic fantasy.\u00a0<\/p>\n
\n\tIn it, after her fisherman husband disappears at sea, Telsi takes a job as a cleaning lady on a boat moored at the local marina, guarded by a group of women. Ending up living on the boat, Telsi notices her companions leave at dawn and return soaked and crying. One night, Telsi follows one of them. She approaches the estuary and dissolves into the water, her body mutating into a half-crocodile creature.\u00a0<\/p>\n
\n\t\u201cThis project was born from the intention of making a Siren film within a contemporary Central American context,\u201d Latishev Salazar told Variety<\/em>. \u201cI am interested in exploring the mythological figure of the Siren as one that provokes fear because it breaks with the hegemonic and whose power lies in her voice. The voice as a political tool,\u201d she added noting that the intended shoot locale, Costa Rica\u2019s Puntarenas province, is \u201cfilled with crocodiles.\u201d<\/p>\n\n\t\u201cSirens\u201d was originally developed while Latishev studied a\u00a0 Master\u2019s in Film Creation at the El\u00edas Querejeta Zine Eskola in San Sebasti\u00e1n.<\/p>\n
\n\tWritten by Latishev and Camila Aboitiz (\u201cAustral Fever\u201d), also an El\u00edas Querejeta Zine Eskola alum, \u201cthe way the project was born in San Sebasti\u00e1n and evolved through that context shaped our relationship with Spain in a very organic way,\u201d noted Linterna Films\u2019 Montero.\u00a0<\/p>\n
\n\t\u201cThis made the co-development structure with Vitrine Filmes Espa\u00f1a feel like a natural extension of the project itself. Their involvement will be instrumental in strengthening the project\u2019s positioning in Europe and in shaping its broader co-production and circulation strategy.<\/p>\n
\n\t\u201c\u2018Sirens\u2019 stands out for its strong connection to territory and community,\u201d Montero told Variety<\/em>.\u201d \u201cThe project is developed through collaborative processes with local women, shaping both narrative and casting. Its hybrid language, between genre and auteur cinema, offers a politically reimagining of body and transformation.\u201d<\/p>\n\n\tFounded in San Jose, Costa Rica, in 2011, La Linterna Films has produced \u201cMedea,\u201d selected for San Sebasti\u00e1n\u2019s Films in Progress and Horizontes Latinos, as well as doc feature \u201cRebel Objects,\u201d directed by Carolina Arias and selected for 2020\u2019s IDFA, \u201cDelirio,\u201d which world premiered at the 2024 Guadalajara Festival, and \u201cMen Die Sooner,\u201d an exploration of masculinity presented at Locarno\u2019s Open Doors and marking Montero\u2019s debut feature as a director. \u00a0<\/p>\n<\/div>\n
\n
Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"\u201cSirens,\u201d the latest film from Alexandra Latishev Salazar, director of Costa Rican Oscar entry \u201cMedea,\u201d has been boarded by Vitrine Filmes Espa\u00f1a.\u00a0 The San Sebasti\u00e1n-based production-distribution…<\/p>\n","protected":false},"author":1,"featured_media":44610,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[8],"tags":[],"class_list":["post-44609","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertaonment"],"_links":{"self":[{"href":"https:\/\/foreignnewstoday.com\/index.php?rest_route=\/wp\/v2\/posts\/44609","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/foreignnewstoday.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/foreignnewstoday.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/foreignnewstoday.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/foreignnewstoday.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=44609"}],"version-history":[{"count":0,"href":"https:\/\/foreignnewstoday.com\/index.php?rest_route=\/wp\/v2\/posts\/44609\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/foreignnewstoday.com\/index.php?rest_route=\/wp\/v2\/media\/44610"}],"wp:attachment":[{"href":"https:\/\/foreignnewstoday.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=44609"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/foreignnewstoday.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=44609"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/foreignnewstoday.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=44609"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}