Video Store Magazine/Cine Mercado

Latin Theatrical Blockbusters

Nov. 15, 2004

By Kyra Kirkwood

Although Hollywood-originated fare continues to reign supreme at box offices across the globe, many countries produce local films that score high returns. Take Spain's "La Mala Educacion," from famed director Pedro Almodovar, and "Mar Adentro"ãboth high earners in their land of origin. So how do these Spanish-language blockbusters do when they reach the United States? And what does it take to make it over here?

Thanks to the recent Latin-film explosion happening right now, it's not as hard as it once was.

"It all depends on how big a theatrical release it gets in the United Statesãand if it does [at all]," said Leslie Haas, president of Desert Mountain Media in Phoenix, Ariz.

Some of the best-known Latin films that made headway both on home soil and abroad include "Amores Perros" from Mexico and Alfonso CuarÛn's 2001 smash hit, "Y Tu Mam· TambiÈn." Both garnered Academy Award nods, and this critical acclaim only fuels the "must-see" fire for American audiences.

Another title to ride Oscar's wave in the United States was the Almodovar treasure, "Talk to Her" from Spain. The film won a 2002 award for best screenplay and was nominated in the best director category.

Yet even without the golden boy's blessing, Latin blockbusters can still hold their own in our competitive theatrical marketplace. It's beneficial to have the backing of a well-known director, like Almodovar, or actress, like Penelope Cruz, who helped "The Girl of Your Dreams" become an international success.

Making the rounds at film festivals can boost awareness of the movie and pave the way to America, said Mauricio Buendia, director of domestic Spanish markets for Ventura Distribution. He noted that there are no governmental restrictions in bringing films stateside, except with Cuba.

"We follow our gut instinct," said Michael Barker, co-president of Sony Pictures Classics. He notes that a good, star-studded story that's made substantial money in its home country is usually a decent bet.

Take "La Mala Educacion." Directed by Almodovar, it's slated for its American theatrical debut on Nov. 19 in New York City, with a Dec. 3 opening date in Los Angeles and Dec. 22 in the top 25 cities nationwide.

Starring Gael GarcÌa Bernal ("Motorcycle Diaries"), "La Mala Educacion" details the effects of religious schooling and sexual abuse on the lives of two friends. It's a modern-day mix of Tarantino and Hitchcockian film noir. "And that combination causes younger audiences to be interested, " said Barker. "[It] lends [itself] to a younger audience."

And that younger audienceãturning out in droves to theatersãis key to helping foreign films score big at the domestic box office.

"They're not disturbed by subtitles at all," said Barker.

Other popular films include "Mar Adentro," which hits American soil Dec. 17 from Fine Line Features, Alfonso Arau's "ZapataãEl Sueno del Heroe" from Mexico, the animated "Patoruzito" and "Peligrosa Obsesion," both from Argentina. The latter two, distributed by Buena Vista International, are about a young boy in the Patagonian outback, and a trio of people who have nothing in common except their obsession for honor and justice, respectively.

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"Mar Adentro" tells the tale of Spaniard Ramon Sampedro, who campaigned for euthanasia and his own right to die. Directed by Alejandro Amen·bar and starring Javier Bardem ("Collateral" and "Before Night Falls"), the film is already ahead of the game, hitting domestic audiences with faces and names they recognize.

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But the American market, even in today's pro-Latin film environment, is challenging. There are loads of great movies out there, many from our own country. How can little-known Latin films get any respect, even with film-festival accolades?

Any import must try harder to get the attention of the average American moviegoer, who is known to be not very cinematically sophisticated, say studio execs.

"The USA is a very difficult nut to crack for Latin filmmakers in general," said Haas. "Our society is a six-pack society."

The best scenario: a theatrical release, even limited.

It increases public visibility by getting the film's name in the daily papers through reviews and features, providing fodder for the word-of-mouth mill and setting the stage for an eventual DVD release.

If the title goes straight to video or DVD, it runs the risk of being swallowed up by the glut of Latin titles flooding the market, and it could fall victim to the retailers' quandary about how to market these selections: in the foreign film section? Spanish language? By genre?

"To be honest, no one has figured it out yet," said Haas.

Trying to please Middle America with these films is a recipe for disaster, say experts. Instead, studios should target a particular market: Spanish-language speakers, art-film aficionados, foreign-film fans.

Most American audiences hate subtitles, and dubbed films irritate cinema purists. We adore big-bang explosions and shoot-em-up epics gracing our domestic screens. But a key to the success of Latin films is the ability to tell a good story.

"They're well done, artistic and typically offer more than pure entertainment value because they address the complex point of view of life, love, relationships and society. That's the difference in Latin films," said Haas.

"These things all add up," said Barker.