“Diverse and Promising”: What International Jury Members Saw in Uruguay’s Audiovisual Production at DETOUR

At the 13th edition of the Festival de Cine Nuevo DETOUR, two international jury members invited by Uruguay XXI — Spanish distributor Josep Prim Armengol (Marvin & Wayne) and Argentine distributor and sales agent Claudia Bertolino (AMASHORT) — shared their first-hand impressions of Uruguay’s current film scene. Both agreed on the maturity and variety of the country’s short films and the energy of a new generation of filmmakers that points toward a bright future.

Arriving from Barcelona, Prim was driven by professional curiosity: he wanted to examine the films being made in Uruguay closely. After watching dozens of shorts, his conclusion was clear. “The quality is excellent. I saw works on par with other countries,” he said. What struck him most was the range of the local landscape: “I accepted the invitation to be a juror precisely to learn more about Uruguayan cinema. In just a few days, I got a broad and diverse picture of its short film production.”

He found no repeated formulas or dominant aesthetics but a broad spectrum of voices and narratives. “There isn’t a single line; the stories are very different,” he noted. According to Prim, this diversity is a strength for international projection — as long as it is accompanied by strategy. “Many festivals require world, international, or national premieres. Submitting without planning can actually harm a short film’s festival path,” he explained.

Prim shared this perspective with young Uruguayan directors and producers during the business meetings organized by Uruguay XXI and DETOUR. “I told them not to get discouraged if they weren’t selected immediately. It’s a numbers issue — some festivals receive eight thousand shorts for thirty slots. But with a clear strategy and the right timing for the premiere, projects can move forward,” he said.

As founder of Marvin & Wayne, a short film distribution company with a global presence, Prim values early contact with new productions. “Each year, we renew our catalog and look for films from the post-production stage. We’re interested in meeting filmmakers early on and seeing how they work. That’s why attending festivals like DETOUR is important,” he added.

On the other side of the jury panel, Claudia Bertolino also traveled to Montevideo upon receiving an invitation from Uruguay XXI. As head of AMASHORT, her company specialized in distributing shorts and documentaries, and she was in charge of evaluating the student category and taking part in meetings with local filmmakers. “The level was outstanding,” she said. “I was impressed by the maturity of the stories and the variety of perspectives.”

In her view, the festival’s most significant value lies in its focus. “DETOUR rewards the director’s vision, not technical perfection. There was a lot of originality in how stories were told and filmed,” she noted. Bertolino highlighted a significant shift: “I saw many teams with women, even entire crews of women in technical and creative areas. That’s growing, and it shows.”

Convinced that the future of the audiovisual industry is forged in the classroom, Bertolino emphasized the importance of the talent pipeline DETOUR helps nurture. “Internationally, film schools are closely watched. In Uruguay, I saw packed theaters, mentorships involving high schools from the countryside, and young people traveling to showcase their shorts. That’s something unique,” she said.

From her market experience, she also identified a trend that favors expansion. “More and more Uruguayan projects are partnering with Belgium, Germany, France, or Spain. That international leg helps with both sales and positioning. When stories are local but universal, they resonate anywhere,” she observed.

Bertolino left the festival with an optimistic outlook. “There’s talent and there’s volume. I still have meetings pending and titles to watch online. I want to put together a package of Uruguayan short films to start selling,” she revealed.

Signs from DETOUR’s 13th Edition

The jury, chaired by Prim, confirmed the wide range of Uruguayan filmmaking. The main awards went to Buenos modales (Lucía Carmela), winner of the Clermont-Ferrand Prize; Más que el mar (Marindia), recognized as Best Official Short Film; and Soy una lesbiana de este país (Rocío Llambí), which received the Experimental Award.

In the student section evaluated by Bertolino, emerging talent took the spotlight: Volver a Brasil (Carolina Mejía Balestié) won first place in the tertiary category; Del otro lado de la zanahoria (Camila Sande) came second; and Compendio (Sol Fernández-Prada) received the top award in the secondary category.

Building Bridges Across the Industry

By inviting jurors who are also international distributors, Uruguay XXI combined cultural promotion with export support. Prim and Bertolino not only deliberated on the awards but also advised local filmmakers and opened channels for their works to reach new screens.

“We’re already in direct contact with Uruguayan producers and directors, and we’re interested in seeing their next projects from an early stage,” said Prim. Bertolino agreed: “What’s happening in Uruguayan documentary filmmaking is very strong. If these intimate stories keep addressing universal themes with an international plan in place, Uruguay is on the right track.”

With thirteen editions and more than six hundred Uruguayan works showcased, DETOUR reaffirms its role as a meeting point between creation and opportunity. With jurors who watch, mentor, and connect, Uruguay XXI partners with DETOUR to help bring Uruguayan audiovisual works to international markets.