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deborah shaw

This chapter will consider the new funding landscapes for Latin American filmmakers with a focus on European funding bodies and will ask whether these have created new forms of dependence or new partnerships. European social funding bodies aligned with film festivals, have been instrumental through their support in developing the careers of some of the most high profile auteurist contemporary Latin American filmmakers. Latin American directors have been favoured by the Dutch Hubert Bals Fund, the German World Cinema Fund, and Cinéfondation a programme linked to the Cannes film festival. This chapter will outline key debates relating to the political and social implications of this new funding landscape. It will examine the arguments of those who are critical and those who are supportive of these developments and drawing on examples of films from the above-mentioned directors will ask whether relationships between funding bodies and filmmakers create new forms of dependence or new partnerships. In addition, the chapter identifies categories of films that are funded (slow or poetic cinema, popular art cinema and social realist/ cinema), and examines the cinematic languages of these categories. _____________________________________________________________________ Any attentive Latin America film aficionada/o watching the latest breakthrough 'festival film' in his/her local art cinema, whether that be in Buenos Aires, New York, Sydney, Paris or Portsmouth, will spot a recurrent pattern when reading the opening credits. They will see that the celebrated Argentine, Mexican, Brazilian, Chilean, Colombian, or Peruvian film that has done the near impossible by securing a cinema release in selected theatres in the nearest urban center, features an array of transnational public and private production funds. These co-produced films are likely to have receiv