“First We Take Anillaco” is an exciting Latin American movie project that has brought together a collaborative effort between Argentina’s Colectivo Rutemberg, Chile’s Color Haus, Brazil’s Filmes Sem Sapato, and Uruguay’s Circular Media. The film, a teen Western set in Argentina during the tumultuous crisis of 2001, was pitched by writer-director Paula Martel at Mar del Plata’s Film.Ar in 2017 with a dramatic demonstration of its climax. The project has generated buzz and is set to be featured at the 2025 Malaga Festival Fund & Co-Production Event (MAFF). Martel describes the film as a blend of magical realism, a female perspective, and punk energy, serving as a cinematic act of resistance that delves into themes of youth, disillusionment, and deception in Latin America.
Inspired by the unpublished work “El Plan Anillaco” by Argentinian journalist-writer Agustín Fontenla, “First We Take Anillaco” is set against the backdrop of Argentina’s economic collapse in December 2001, which led to widespread poverty and social unrest. The story follows Lali, an 18-year-old who joins a group of fearless teen guerrillas on a daring mission to confront Carlos Menem, whom they hold responsible for the country’s crisis. As they journey through northern Argentina, facing various challenges and revelations, the characters grapple with the harsh realities of growing up.
The film is described as a teenage Western with a Tarantino-like style, portraying a group of young outsiders navigating a broken society. As Argentina faces new challenges under a neoliberal government, Martel aims to shed light on the lingering impact of historical wounds on the country’s present. The cast includes both newcomers and seasoned actors who bring depth and intensity to their roles, enhancing the film’s political and emotional layers.
“First We Take Anillaco” has received support from various arts and cultural funds in Argentina, with local governments backing the project in recognition of its artistic and social significance. Martel and her team are committed to international co-production, turning challenges into opportunities to create a compelling and thought-provoking cinematic experience.
Payment for production is usually made upfront, using credit facilities that are partially covered by INCAA in the event that films attract a significant audience. However, this process has become riskier following the removal of screen quotas last year, which mandated cinema theaters to screen Argentine films.
“We are optimistic that our inclusive and diverse approach will open up new creative and financial opportunities. We are actively seeking co-producers, investors, distributors, sales agents, and international funding in Europe and the MENA region,” stated Martel.
She emphasized the importance of collaborations with the provinces of La Rioja and Catamarca, where the film is set, as well as the significance of international cooperation, especially in the absence of subsidies from INCAA for Argentine cinema financing.
The partners involved in “First We Take Anillaco” bring a wealth of experience to the project. For example, Francisco Novack from Colectivo Rutemberg has previously worked on successful international co-productions such as “Theater of War” and “327 Cuadernos.” Additionally, Álvaro Manzano and Christian Nawrath Smith from Color Haus have supported projects like “The Dog Thief,” which premiered at the Tribeca Festival in 2024.
Laila Pas from Filmes Sem Sapato has a strong track record, having worked on the acclaimed film “Shine Your Eyes” at the Berlin Panorama in 2020. Similarly, Diogo Faggiano is involved in several feature projects at O2 Filmes. Circular Media, led by Nicolas Valdes, has co-produced notable films like “The Astronaut” and “Ramon & Ramón” in partnership with El Deseo and Tondero.
“First We Take Anillaco” promises to deliver a unique cinematic experience, supported by a team of seasoned professionals with diverse backgrounds.
