Berlinale programmer visits Montevideo and shares global integration strategies for the audiovisual sector

To further the international integration of the audiovisual sector, Uruguay XXI—through its Export Promotion area—facilitated the visit of Portuguese film programmer and curator Ana David as part of the 43rd Uruguay International Film Festival. This initiative was part of the agency’s broader strategy to support creative industries on their path to global markets.

Before the expert’s presentation, Uruguay XXI’s Creative Industries Specialist, Omaira Rodríguez, highlighted the importance of these events. “We know that festivals are not just exhibition spaces; they are real platforms for our productions to gain international visibility, access new markets, and build valuable connections,” she said.

David participated as a short film jury member at the festival. She gave a lecture at the Cinemateca headquarters entitled How to approach the festival circuit?, in which she shared recommendations and experiences gained throughout his distinguished career at festivals such as the Berlinale and Madrid’s Márgenes, as well as in his role as an active member of the European Film Academy.

A lecture to demystify

In his presentation, David set out to break down prejudices about the programmer’s role. “Good programmers are admirers of the work of directors,” she argued, highlighting generosity and exchange as pillars of the film community. She reaffirmed that, although festivals are key platforms, “films are not made primarily for festivals but out of an artistic need.”

In terms of specific strategies, she discussed the option of working with sales agents, who are especially useful for short films. She also suggested direct submission, for which it is vital to know each festival’s eligibility criteria, including year of production and premiere requirements. She advised designing a submission strategy, initially targeting A-list festivals such as Cannes, Venice, Berlin, and Toronto, among others, but always having another relevant alternative for your work in parallel.

She also stressed the importance of consulting directly with festivals in sensitive situations. She recounted the case of a film whose filmmakers decided to withdraw from a major competition when it was confirmed for another less relevant one when it still had a real chance of being selected. For David, missing opportunities by not asking questions is one of the industry’s most common and avoidable mistakes.

She also clarified a point that often raises questions among filmmakers: the influence of sales agents in the selection process. She stated that the programming teams view all films submitted to festivals. However, she acknowledged that having the backing of an agent can add value by serving as an initial professional validation. Even so, she pointed out that many films without an agent manage to get into international festivals, while others with an agent do not.

In the context of an industry in constant transformation, with limited budgets and new consumer habits, the programmer recommended exploring parallel sections, thematic circuits, and tools such as Festival Scope Pro and taking advantage of the resources offered by film institutes in various countries.

Potential and challenges for Uruguay

During his stay, David attended the screening of Perros, the debut film by Uruguayan director Gerardo Minutti, which she described as “a moving, tender, and multi-layered film, with great performances and a subtle description of the social dynamics between middle-class families,” already considering it one of his favorites of the year.

In her role as a jury member, she evaluated student short films. “I deeply appreciated the simplicity and tenderness of most of them, which seek to reflect a feeling or an idea. They have left me with a greater understanding of what it means to be Uruguayan,” she said.

When asked how Uruguay can improve its international presence, David clarified that producing more is the first step to strengthening the national film industry. “My perception is that, first of all, there need to be more national productions, more Uruguayan films that tell stories from a Uruguayan perspective,” she said.

David stressed that positioning national cinema on the international circuit is a long-term process that requires sustained investment and the gradual building of experience in all stages of the audiovisual ecosystem, including distribution, criticism, and promotion.

Among her recommendations, she highlighted the value of co-productions with countries in Latin America and Europe as a way to add capabilities and expand networks of contacts. He also suggested actively participating in international markets and co-production forums, where contacts can be made with sales agents who act as a bridge to programmers and distributors. She acknowledged that in most cases, finding an agent is impossible, which leaves producers with the demanding task of designing and executing the distribution strategy for their works.

David also held meetings with several Uruguayan filmmakers and producers who approached her to introduce themselves, ask for advice, or share their plans to apply to future editions of festivals such as the Berlinale. Her openness to dialogue and genuine interest in local cinema left a lasting impression on the event’s participants.

Ana David’s visit, promoted by Uruguay XXI, represented another step forward in internationalizing national talent. It provided concrete tools, generated new links, and contributed an expert perspective, allowing Uruguayan cinema to continue expanding its horizons in the competitive global arena.