TAGLINE

La Carlota, rural Argentina 1987, In a country waking up to democracy after a decade of repression and horror, two sisters begin their own sexual awakening.

SYNOPSIS

Córdoba province, Argentina 1987. It is a hot summer day and a long awaited storm is slowly approaching. It is an oppressive day in the small rural town of La Carlota that shows the signs of months of severe drought. ELENA and LUCÍA are two teenage sisters, their parents have gone on holiday and they are home alone. ELENA (14), has fallen riding her moped and has her leg in plaster up to her knee, she spends all day in bed, entertaining herself watching soap operas, reading adventure stories and annoying and bossing her older sister, Lucia. LUCIA (17) spends her time studying, preparing for her application to university in Buenos Aires and her chance to live the small town behind. Elena’s friends are fighting the heat at the local swimming pool where gossip is the major sport. There is great excitement amongst the teenagers to find out who kissed who the previous night at the town square. Boys and girls gather in separate groups. Laura (15) and Juan (15), each to their own friends, are telling about the kiss they have shared. Out of town, in a farm, Andrés (15) a young beekeeper, and his brothers, are looking for beehives preparing for the opening night of the beekeeping fair, the town’s main summer event. That afternoon Elena is waiting for IGNACIO (35), a handsome doctor, friend of the family who is supposed to take her cast off that same day. Elena is upset, she is fed-up with having her leg in plaster and misses the pool and the excitement Her friends ANA (14) and CLAUDIA (15) come to visit and try cheering her up reading a book from the “Choose your own adventure” series. The girls find that in the book, as in life, there are too many alternatives and it is hard to make a choice. Ana and Claudia live. After a big argument between the two sisters Lucia takes a break from her books and decides to go for a drive in her parents’ pickup. At the beekeeping fair she meets Ana, who invites her to have an ice cream. At the ice cream shop Lucia much to her surprise finds herself engaged in an animated conversation with Ana. At the house Elena welcomes Ignacio, the doctor who decides not to take her cast off. Bored and upset, she persuades the doctor to let her join him in his rounds.

Andrés (15) meets Rocío (12) in a precarious shack where she hides to read. After an approaching her, he confronts Horacio (15), Rocío’s brother, due to a rural conflict about some neighbor’s pigs. Rocío defends Andrés from Horacio. Lucia teaches Ana to drive on the outskirts of town. As they run out of fuel, they decide to take a shortcut through a field where they fear coming across a dangerously hidden well in which, according to town’s say, a youngster fell never to be seen again.. Ignacio is doing his round in the company of Elena when he is informed about a shotgun accident. In the emergency he has to assist the injured patient with her help; Elena faints overwhelmed by the situation. In the early evening the teenagers get together at the town square to play “kisses and slaps”. Juan, under friend pressure, tells everybody about the “secret kiss”, which makes Laura go mad. At last the long and awaited storm breaks out with a heavy downpour. Under the rain Andrés arrives at the beekeeping fair carrying his beehives as people are busy taking down the awnings. He finds Rocío watching the rain fall. Juan, sorry for disclosing their secret, looks for Laura at the club and tries to make up to her, but she rejects him. It’s already night when LUCIA and ANA arrive back in town under the rain, as they say goodbye they share a kiss. Ignacio drives Elena home. When they arrive she is about to burst into tears overwhelmed by the day’s real adventures. Elena hugs Ignacio and stares at him; he looks at her tenderly avoiding her gaze comforting her but feeling uncomfortable with the situation. LUCIA arrives home to finds ELENA crying in the bathroom as she is laboriously cutting the plaster with scissors, taking it off by herself. Lucia joins her in silence. They sit in the kitchen. Something has changed in them. Outside the rain keeps falling.

DIRECTOR’S VISION Adolescence produces fascination, youth, sexual awakening, freedom and pain and the twilight of a period in life. It is a moment in which anything can happen, where life blossoms with splendor to offer us thousands of paths. Atlántida explores this moment in which we are faced with choices and we must take one path or the other. Choices in Atlántida are carried on by adolescents, the faces of this story. The story of two sisters and their sexual awakening is in the foreground. We also come across many other stories, teenagers breaking though in a choral manner seeking to find their desires. These encounters take place in a town in the gringo pampas of the South of the province of Cordoba, Argentina in the late eighties. This square checkerboard town holds Southern Cordoba’s historical crops which seize the horizon until dusk, the public swimming pool and the square where “everything unfolds”, the outskirts where intimacy may be reached. It is in this particular setting where the youths stroll, fight, play, always driven by desire; either to consummate it, reject it or simply abandon it. The encounter between spectator and the universe portrayed by the film is not dramatic; it will go through happy and sad moments, this is a teenage movie with bitter-sweet notes. Atlántida explores the pulsion of life of young people. This pulsion will unfold during one summer afternoon. As we follow the characters and their capricious moves around their own town , the outside view stares at them out of the corner of the eye, through hints, never directly, their parents are not around. The adult world has vanished; teens are left to their own devices, yet the pervasive adult world could reappear at any moment. This produces in the characters an urge; the feeling that everything might suddenly change, and inevitably nothing may be the same again. The town’s stillness contrasts with the liveliness of its characters and the start of what is new stands out. The atmosphere of drought and the suffocating heat interact with the characters elements mix together to rarify the environment, the suffocating heat, vacations and the advent of a storm with its metaphorical resonance. In a place where rituals seem to be always the same (going to the pool, the ice-cream parlor, the plaza) and where the possibility of someone watching is always latent (gossip spreads like wildfire) only the forbidden dormant desire seems to remain, contact regardless of gender, social class, age. We witness a constant and subtle sexual tension that contrasts with the stagnancy of the place and it augurs of change and exposes us to a point in which a certain order is broken . And as the youngsters get lost, witness an accident or experience a moment of violence a rarified tension brews with a mix of desire, suspense and the awaiting for the rain

In Atlántida, the environment, the town, the weather, nature, they all speak, their sounds are like a suspended whisper. All of the audio and visual elements along with the characters weave a net where, despite of the many stories, achieve hegemony, a tone, a world within itself. Atlántida proposes a shift in focus in the characters that enhances the succession of scenes and strengthens the complexity of each of the stories. It is through these multiple stories that we go through the movie very dynamically. The film probes into this restless pursuit set in this town that seemingly exists in a lull yet this apparent serenity and conservativeness cannot restrain the voluptuousness of the characters’ desire, the intensity of their bonds and their encounters, the setting in motion of their stories. These bonds are comprehensive to all (all of the teenagers in Atlántida feel desire) and they are also specific to every one of them: The magical and transmuting encounter with desire, with a first intimate experience, a first love. That first exposure to intimacy in Atlántida happens far from this square town. The teenagers must escape from their town-life in order to encounter it; they find it in a car in the woods, in a secluded place. As spectators, we go through the dissimilarities of the characters’ sexual awakenings in order to evoke our own, to relive that moment. That unique bridging passage that speaks of choice and difference. A transitioning that is as important as the decision it implies.

MOVIES REFERENCE

Fish Tank (Andrea Arnold) The editing. The camera. The relation between camera and characters.

El nacimiento de los pulpos (Céline Sciamma) The phoptography . The characters’ psychology. The relation between teen desire and innocence.

Fuckin Animal (Lukas Moodison) The characters and the relationship between the sisters. The director´s vision about the adolescent world in a town. Glue (Alexis Do Santos) The director´s vision about how adolescents experience sexuality without prejudice.

PRODUCER’S MOTIVATION

I have a great interest in stories that invite us to think and to be part of what is being narrated, Atlántida is one of these stories. In a narrative and aesthetic level, every action has its own timing within the story. I have always searched for stories that reflect a moment, a reality from which to induce even the slightest change in our surroundings. In Atlántida, there is the subtle exposure of what happens but nobody says. The portrait of an extremely conservative society in a small town. What captivates me is what is not said but is rather seen through the stories of a group of youngsters. Atlantida will be the second fiction film I produce. And my first coproduction experience. Atlántida is part of the new, emerging “Cine Cordobes” that is transforming our region into the second most important Film Production Hub in Argentina. I am interested in being part of bringing stories to life and, therefore, manifesting creative talent on the big screen. Atlántida is a story worth telling for its universality, the freshness of its characters and the calmness and harmony of its setting. I get a very special adrenaline rush upon making this film, seeking all that is necessary to accomplish that which someone imagined, in motivating the team to tell this tale and to contribute to the project from each and everyone’s roles. We produce from our own places, telling our own stories. We encourage regional film

production while supporting the development of regional film-making in Argentina.

Project title: ATLANTIDA

Shooting dates: March 2012 Location: Cordoba Argentina Format: Shoot HD (digital) Final print 35mm, Dolby Stereo Duration: 90´ Shoot: 6 weeks. Pre: 8 weeks Post: 14 weeks All technical processes, equipment, technicians and cast from Argentina Producer: ORUGA FILMS, PAOLA SUÁREZ

Executive Producers: Edgard Tenembaum y Ariel Piluso

Paola Suárez and Oruga films are new to the international co-production arena despite having a successful record on domestic work. In their relatively short history as producers they have so far produced with financial help from national and regional funds the feature film Hipólito (2010) and two fiction t.v series for National Television, Eden and Cordoba Castings (2011). Both winners of a national competition to produced programming for the recently created national digital network. Atlántida wil be their first venture in the international co-production world, currently counting with the participation as executive producers of: Edgard Tenembaum (Tu vas voir) and Ariel Piluso (Wow film).

- 5´19 minutes - Teaser “Atlántida” – Link: http://vimeo.com/31096191 (These scenes were made as test for the Raymundo Gleyzer. They don´t belong to final movie´s scenes)

WORK SCHEDULE Development, pre-production, shooting, post-production and premiere.

Development Stage Date: July 2009 to December 2011 Pre-Production Stage Date: January / February 2011 Shooting Stage

Date: March / April 2011 Post-Production Stage

Date: May / June / July /August / September 2011 Approximate Premiere Date: December 2012

PROJECT HISTORY:

In March 2011 we obtained the movie final classification by the INCAA with the status of "Project

of interest".

This guarantees the INCAA subsidies.

The project saw its first draft in the summer of 2005.

Currently, we are in pre-preproduction stage with a final script (5th Draft) and started de casting

for the adolescents.

In 2010 we shot as part of the Gleyzer award a scene from the film (- 5´19 minutes - Teaser

“Atlántida” - link: http://vimeo.com/31096191

The final draft has been supervised by Liliana Escliar as script doctor.

November 2010: Ariel Piluso joins the project as Executive producer.

June 2011: Edgard Tenembaum joins the project as Executive producer.

Awards:

-1st Price in the 3rd Federal Award for Project development - Raymundo Gleyzer 2009 –

organized by INCAA (Instituto Nacional de Cines y Artes Audiovisuales).

- Selected to participate in “X Taller Colón” - 2009, Organized by TYPA foundation.

- Selected to participate in Pitching Market - Mexico 2010

- Selected to participate in Mannheim Meeting Place 2011.

- Selected to participate in Work in progress International Film Festival Mar del Plata 2011.

- Selected to participate in Crossing Board Manaus 2011.

The producers have also taken part in:

International Business Market Meetings in Berazategui 2010,

Ventana Sur 2010.

Funds applications:

Applied without success to:

2010: HBF, BAL, Bolivia Lab 2010, Global Film, Nantes, Oxaca, Vision Sudest. Huelva 2011.

2011: Recently we have also submitted the project to: La Habana 2011 and Noruega South Film

2011. Answers are not yet available.

BACKGROUND: Atlántida is part of a new trend of regional filmmaking in Argentina . This presents a fresh and new scenario in the already prestigious Argentinean film industry. Help from the local province funding bodies in bridging the slow returns from INCAA subsidies together with a new, young and vibrant film community in Cordoba is making possible to produce quality projects outside Buenos Aires. (Please see Additional Documents above for the Variety article on new possibilities in Cordoba as published for Ventana Sur 2010 - Regional funding is allowing new talent to emerge and consequently gives us the possibility to be seen by and get to know foreign markets. As a result of this new scenario we understand the importance of establishing early links with independent sectors outside Argentina and to be perceived as a new and fertile ground for project development and participation. As young and regional producers we find it harder to break into the world hence the importance given by us to be able to participate in markets and business meetings at this stage. Oruga Films has recently completed 2 TV miniseries as part of the new national programming for the new and groundbreaking national terrestrial digital network. The two series produced by Oruga were winners of a national competition to produce for the new signals. COPRODUCTION AND SALES STRATEGY:

Territories: All territories are available except Argentina and Uruguay. (Oruga films) We are seeking principally a fund and/or grant- based minority co-production partner. Eventually we are also seeking presales, MG’s or financial coproduction in first position in markets outside Argentina. At present there is no sales agent attached.

BUDGET 20111110

ATLANTIDA

PRODUCER: Paola Suárez DIRECTOR: Ines Barrionuevo /Executives Producers: Edgard Tenembaud - Ariel Piluso

PRODUCTION BUDGET

ACCOUNT ACCOUNT NAME

Cost

AR$ U$S €

1 4,2 6,2

1,1 SCRIPT 88.800,0 21.142,9 14.322,6

1,2 DIRECTION 160.000,0 38.095,2 25.806,5

1,3 PRODUCTION 160.000,0 38.095,2 25.806,5

1,4 CREW 474.062,4 112.872,0 76.461,7

1,5 CAST 99.034,0 23.579,5 15.973,2

1,6 SOCIAL CHARGES 38.138,3 9.080,5 6.151,3

1,7 WARDROBE 24.150,0 5.750,0 3.895,2

1,8 MAKE-UP 5.000,0 1.190,5 806,5

1,9 PROPS 40.050,0 9.535,7 6.459,7

1.10 ART DEPARTMENT 40.050,0 9.535,7 6.459,7

1,11 LOCATIONS 25.000,0 5.952,4 4.032,3

1,12 STOCK FOOTAGE 0,0 0,0 0,0

1,13 MUSIC 92.070,0 21.921,4 14.850,0

1,14 RAW STOCK 31.280,0 7.447,6 5.045,2

1,15 LABORATORY 206.584,0 49.186,7 33.320,0

1,16 EDITING 171.399,0 40.809,3 27.645,0

1,17 SOUND POST PRODUCTION 107.880,0 25.685,7 17.400,0

1,18 EQUIPMENT: camera, lights , grip 227.200,0 54.095,2 36.645,2

1,19 SFX 25.000,0 5.952,4 4.032,3

1.20 TRANSPORT 96.850,0 23.059,5 15.621,0

1.21 GASOLINE 31.000,0 7.381,0 5.000,0

1.22 ACCOMODATION AND FOOD 170.000,0 40.476,2 27.419,4

1.23 ADMINISTRATIVE AND LEGAL COSTS 108.329,1 25.792,6 17.472,4

1.24 INSURANCE 20.000,0 4.761,9 3.225,8

1.25 SECURITY 10.000,0 2.381,0 1.612,9

SUBTOTAL 2.451.876,7 583.780,2 395.464,0

OVERHEADS 10% 245.187,7 58.378,0 39.546,4

CONTINGENCY 10% 245.187,7 58.378,0 39.546,4

TOTAL PRODUCTION BUDGET 2.942.252,1 700.536,2 474.556,8

COST IN ARGENTINE

EXCHANGE RATES OCTOBER 2011 1 Euro= 6,20 Ar$

1 Dólar= 4,20 ar$ SCHEDULE Preproduction: 8 weeks SHOOT FORMAT: HD

Shoot: 6 weeks PREMIERE FORMAT: HD

PostProduction: 12 weeks RUNTIME: 90´

LOCATION: CORDOBA ARGENTINA Financial Plan Money in Place € 246.055,00

Outstanding € 228.501,00

CONTACT INFORMATION

E-MAIL: oruga@orugafilms.com.ar

WEB: www.orugafilms.com.ar / www.atlantidalapelicula.com.ar

PHONE: +54 0351 425 2578 / +54 9 351 7543894

ADRESS: Achával Rodriguez 950, B° Observatorio. Córdoba (C.P 5000) - Argentina