S p e c i f i c a t i o n s

1 3 M I N U T E S 5 4 S E C O N D S / A R G E N T I N A / C O L O R / 2 0 2 0 / S PA N I S H

D I R E C T O R , W R I T E R & P R O D U C E R :

F e l i p e M a r t i n e z C a r b o n e l l

O R I G I N A L T I T L E : R e t r a t o I m a g i n a r i o

E N G L I S H T I T L E : I m a g i n a r y P o r t r a i t

G E N R E : D r a m a / H o r r o r / F a n t a s y

S U B T I T L E S : E n g l i s h S u b t i t l e s

F O R M AT: 4 6 0 8 x 2 5 9 2 , 2 4 f p s , 1 . 7 8 : 1

S H O O T I N G F O R M AT : B l a c k m a g i c U r s a M i n i 4 . 6 K

( S u p e r 3 5 ) / B l a c k m a g i c R A W

P R O J E C T I O N F O R M AT: D C P 4 K S c o p e 2 . 3 9 : 1

P R O J E C T I O N R E S O L U T I O N : 4 0 9 6 x 1 7 1 6 , 2 4 f p s

S O U N D : S u r r o u n d S o u n d

P R O D U C T I O N C O M PA N Y: H e m i s f e r i o F i l m s

T E L E P H O N E : ( 3 1 0 ) 7 7 3 2 5 4 4

E - M A I L : f e l i m a r t i n e z c a r b o n e l l @ g m a i l . c o m

C o p y r i g h t : © H e m i s f e r i o F i l m s

S y n o p s i s

T h r o u g h t h e c r e at i o n o f a f a m i l y p o rt r a i t,

a m e n ta l l y i m b a l a n c e d y o u n g a rt i s t c o n n e c t s w i t h h e r d e a d m o t h e r t o e x a c t

r e v e n g e o n h e r g h o u l i s h f at h e r a n d a b u s i v e g r a n d f at h e r .

M AT E R I A L T O D O W N L O A D

H A S H TA G : # i m a g i n a r y p o r t r a i t # r e t r a t o i m a g i n a r i o

T R A I L E R

F R A M E S P O S T E R S

I M B D

I N N O VAT I V E P O S T E R S

O F F I C I A L I N S TA G R A M O F F I C I A L W E B S I T EB E H I N D T H E S C E N E S

B E H I N D T H E S C E N E S W I T H I N T E R V I E W S

B E H I N D T H E S C E N E S P H O T O S

L I N K S T O :

D i r e c t o r ’ s S t a t e m e n t

Retrato Imaginario ( translated in Engl ish as Imaginary Portrait ) combines

fantasy, drama, terror and suspense to tel l the story of Valer ia, a young

art ist played by Argentine actress Ceci l ia L i Causi . Valer ia suffers from a

mental imbalance and through the creat ion of a family portrait connects

with her deceased mother in order to free herself f rom her deranged

father, played by Jul io Chianetta, and her abusive grandfather, played

by Mirko Buchin. Valer ia is subjected to psychological torment by these

two men: her grandfather frequently sexual ly harasses her, and her father

blames her for the death of her mother during chi ldbirth.

The main story of Imaginary Portrait centers on Valer ia honoring the

anniversary of her mother’s death by creat ing a family portrait . This work

represents the tangible object ive of the character and connects with one

of the main themes of the f i lm: the power of art to change our l ives.

Valer ia’s emotional journey is dr iven by her need to break free from her

father and grandfather, with the help of her late mother. This is what

Valer ia needs, not what she wants as a character. She is ready to f ight for

her freedom.

This story is a social statement that involves gender issues, exhibit ing

the oppression of women by the patr iarchal system. For the scr ipt, I was

largely inspired by the “Me Too” movement in the United States and

“Ni Una menos” in Argentina. Valer ia’s mother represents freedom and

the past generat ion of women. Valer ia represents the woman of today,

power. As a member of the LGBTQ+ community, I consider the struggle

of women’s groups against the injust ices of male chauvinism as extremely

important and valuable.

Throughout the f i lm, v iewers wi l l f ind common color schemes that

symbol ize the characters and their emotions. The appl icat ion and use

of each color scheme involved the coordinated work of the photography

team, the art team, the costume designer and the direct ion. In addit ion

to this , both the cinematographer and I agreed to play with the depth of

f ie ld. Since the inter ior of the chosen locat ion is f i l led with doors, i t has

the appearance of a maze. We were interested in taking advantage of this

depth to give the audience the experience of a var iety of layers, which

are not only connected to the physical place, but also to the mental state

of the protagonist .

D i r e c t o r ’ s S t a t e m e n t

The creat ive process for this movie was very rewarding. In pr inciple, when

working with a cast and crew made up of professionals from Rosario, I

was very proud of the level of technical and creat ive ski l l on and off set.

Real ly, in terms of f i lmmaking, there is nothing to envy from other parts

of the world.

Another element that gave me great sat isfact ion was the fact that I was

able to use my grandparents’ apartment as the f i lm set. Located in one of

the oldest bui ldings in Rosar io, the apartment is on the corner of Laprida

and Córdoba, r ight in front of La Bola de Nieve, an emblematic bui lding in

my hometown. My grandfather was a col lector of paint ings, and the wal ls

of his house are not only ful l of them, but they also carry out or iginal and

unique art ist ic interventions, made by master art ists. Given, then, that

the story of Imaginary Portrait is related to art and with the power that i t

has to change our l ives, this locat ion was a perfect f i t .

Final ly, the biggest reward was seeing the end result :

every element, the hard work that the team put in, the

attent ion we paid to each detai l - a l l of this paid off

and was embodied in a beauti ful work of art .

C a s t B i o

Mirko Buchin is an actor and theater director. He has staged

works by Wilder, Pirandello, Mae- terlinck, Lorca, Goldoni,

Ionesco and Argentine and Latin American authors. As an

author, his works The Almanac Box, The House of Ula, The

Lantern, For Sympathy, and The Scottish Toucan won first

prize in important national competitions. His screenplay

for cinema, Poor Triumphs Passengers, was awarded in the

contest of the newspaper La Nación, the most important

in Argentina. The Barral publishing house (Barcelona)

published his novel Chechechela, recommended for

publication by García Márquez and Vargas Llosa.

Mirko also served as an opera registrar for Menotti,

Verdi, Donizetti, Mascagni with important national and

foreign singers. He was a teacher at the universities of

Buenos Aires (UBA), Rosario (UNR) and Córdoba (UNC).

He was officially declared Illustrious Citizen by the

Municipality of Rosario, the city where he currently resides.

Cecilia Li Causi is a young Argentine film and

theater actress born in Rosario on May 19,

1998. In 2019, she graduated as an actress from

the Provincial School of Theater and Puppetry

of Rosario. In 2018, she was part of the stable

cast of the Rosario theater La Comedia, playing

Anabel Frankenstein in the play Frankenstein, a

different friend directed by Simonel Piancatelli

and Francisco Alonso. Due to the success

achieved, the group continues to perform

functions in different parts of the country. Since

2019, she has been a member of the legendary

theater and improvisation group The Jumping

Frijoles directed by Cristian Marchesi with more

than seven thousand followers on Instagram

and more than 21,000 followers on Facebook.

Julio Chianetta has been one of Rosario’s

independent actors since 1978 as well as

teacher and director. He is a film actor with

over 94 shoots under his belt, including work

in short, medium and feature films spanning

over 30 years. Julio is the protagonist of the

miniseries Ambassadors of the Mafia, a story

about corruption in Latin America made by

History Channel and seen in more than 60

countries. In theater, he has stood out within

many musical plays and comedies over 42 years.

In 2018, he was recognized by the Chambers of

Deputies and Senators of the Province of Santa

Fe as an outstanding artist of the province.

M i r k o B u c h i n a s G r a n d f at h e r J u l i o C h i a n e t ta a s F at h e rC e c i l i a L i C a u s i a s Va l e r i a

L I N K T O C A S T I N T E R V I E W

D i r e c t o r ’ s B i o

Felipe Martinez Carbonell is an Argentine f i lmmaker, born on October

21, 1990 in Rosario, Santa Fe. He l ived in Rosario unti l 2014, a city

which is considered a benchmark of Argentine and Latin American art

and culture. There, in the classrooms of the EPCTV (Rosario Provincial

Fi lm and TV School) , he studied f i lm and television production

and, at just 20 years old, laid the foundations for Hemisferio

Fi lms, a f i lm and content production studio that he now directs.

He currently resides in Los Angeles, a city in which he expanded

his academic career through a Bachelor of Fi lm Production at UCLA

(University of Cal ifornia, Los Angeles).

The grandson of an art col lector and cultural phi lanthropist, Fel ipe grew

up in an environment that celebrated expression and creativ ity. He chose

the fantasy genre as an expressive f ield, which highl ights its enormous

metaphorical capacity and the possibi l i ty of social cr it ic ism that it a l lows.

Thus, his f i lms handle rest lessness and suspense, without forgett ing the

anchorage with complex real it ies which are, many t imes, more disturbing

than fantasy.

In 2013, short ly after entering the EPCTV of Rosario (Argentina) at the

age of 18, Fel ipe began working on his own projects and shaping his

production company, Hemisfer io Fi lms. His f i rst short f i lm, Llantos (Tears

in Engl ish) , was selected by FEISAL (Federation of Image and Sound

Schools of Lat in America) to be screened within the framework of the

First Latin American Young Fi lm Festival .

W E B S I T E FA C E B O O KL I N K E D I NI M B D

In 2014, already sett led in Los Angeles, he had the opportunity to

produce content for Defiant Pictures. This c ircumstance opened the

doors to an experience of immense value for a young man in training. He

began working with world-renowned f igures: Shir ley MacLaine, Jessica

Lange, Demi Moore, Hi l lary Duff , among others.

In 2016, at the age of twenty-three, he received from the jury of the

Rosario Lat in American Video and Audiovisual Arts Fi lm Festival the award

for “Best Short Fi lm” for his second f i lm, Momento (Moment in Engl ish) .

The play was acclaimed for its innovative approach to the fantasy genre,

i ts narrat ive achievements, and its or iginal , episodic structure.

As he continued to advance in his f i lm career, Fel ipe enjoyed the

opportunity to direct, produce, write, and edit var ious advert is ing

campaigns. In the United States, he worked for the advert is ing agency

Acento Advert is ing and for healthcare system Banner Health. In

Argentina, he has written and made comprehensive content, commercials

and inst itut ional v ideos for individuals and companies, among which

are: Tarjeta Naranja (credit card company), Ticket (c lothing brand) and

ARICANA (binational language teaching center) . Fel ipe is continuing to

develop this l ine of work through Hemisferio Fi lms .

Concerned with achieving the right balance of entertainment and

qual ity of content in his works, Fel ipe defines himself as passionate

about audiovisual storytel l ing, guided by the chal lenge of creating,

through it, an emotional ly powerful experience.

D i r e c t o r ’ s B i o

K e y C r e w B i o

D i r e c t o r o f P h o t o g r a p h y : P a t r i c i o M o l l a r

A r t D i r e c t o r : L u c i a n o S t e c h i n a

S o u n d D i r e c t o r : J i m e n a C h a v e s

P a t r i c i o M o l l a r w a s b o r n i n R o s a r i o , A r g e n t i n a i n 1 9 8 6 . H e s t u d i e d p h o t o g r a p h y a t t h e M a n u e l M u s t o M u n i c i p a l S c h o o l o f P l a s t i c

A r t s . P a t r i c i o i s a n A u d i o v i s u a l P r o d u c e r a n d E P C T V g r a d u a t e . S i n c e 2 0 1 1 , h e h a s w o r k e d p r o f e s s i o n a l l y a s a c i n e m a t o g r a p h e r a n d

c a m e r a m a n i n d i f f e r e n t a u d i o v i s u a l p r o d u c t i o n s , i n c i n e m a ( d o c u m e n t a r i e s , f i c t i o n a n d a n i m a t i o n ) , t e l e v i s i o n , a n d a d v e r t i s i n g . H i s

m a i n w o r k s i n c l u d e : d i r e c t o r o f p h o t o g r a p h y i n P á j a r o s N e g r o s ( w i n n i n g p r o j e c t o f t h e F e d e r a l F i c t i o n S e r i e s C o n t e s t / I N C A A 2 0 1 4 -

1 5 ) ; d i r e c t o r o f p h o t o g r a p h y f o r t h e s h o r t f i l m A b a d d o n ( w i n n i n g p r o j e c t o f t h e E s p a c i o S a n t a f e s i n o c a l l i n 2 0 1 3 ) ; l i g h t i n g a n d

c o m p o s i t i o n f o r Y O K O ( a n i m a t i o n s e r i e s f o r T V E i n 2 0 1 6 ) ; d i r e c t o r o f p h o t o g r a p h y i n a d v e r t i s i n g s p o t H O Y ( f o r t h e G o v e r n m e n t o f

S a n t a F e i n 2 0 1 7 ) ; d i r e c t o r o f p h o t o g r a p h y a t C a m p N e w t o n ( I N C A A 2 0 1 8 S e r i e s ) ; d i r e c t o r o f p h o t o g r a p h y f o r t h e w e b s e r i e s D e l f o ,

I m p r e s s i o n s o f a P e o p l e ( f o r t h e g o v e r n m e n t o f S a n t a F e 2 0 1 9 ) .

L u c i a n o S t e c h i n a i s a n I m a g e a n d S o u n d D e s i g n g r a d u a t e f r o m t h e F a c u l t y o f A r c h i t e c t u r e , D e s i g n , a n d U r b a n i s m a t

t h e U n i v e r s i t y o f B u e n o s A i r e s ( F A D U - U B A ) . H e p a r t i c i p a t e d a c a d e m i c a l l y a s a t e a c h e r i n t h e s u b j e c t “ A u d i o v i s u a l

N a r r a t i v e S t r u c t u r e s ” i n h i s u n d e r g r a d u a t e c a r e e r . H e i s a s p e c i a l i s t i n l o g i c a n d t e c h n i q u e o f t h e F A D U - U B A f o r m .

H e p e r f e c t e d h i s s c e n o g r a p h i c p r o d u c t i o n t e c h n i q u e s a t t h e I n s t i t u t o S u p e r i o r d e A r t e d e l Te a t r o C o l ó n , B u e n o s A i r e s . H e h a s w o r k e d

f o r m o r e t h a n 1 5 y e a r s a s a n a r t d i r e c t o r i n a d v e r t i s i n g a n d f i l m s , b e i n g p a r t o f n u m e r o u s a w a r d - w i n n i n g p i e c e s b o t h n a t i o n a l l y

a n d i n t e r n a t i o n a l l y . H e h a s w o r k e d i n t h e a t r i c a l s c e n i c d e s i g n , h a v i n g c o m p l e t e d w o r k s r e p r e s e n t e d n o t o n l y i n t h e l o c a l s c e n e b u t

i n o t h e r c o u n t r i e s s u c h a s C h i l e , I t a l y , F r a n c e a n d t h e U n i t e d S t a t e s . I n a d d i t i o n , h e i s d e d i c a t e d t o t h e d i r e c t i o n o f a s s e m b l y o f

e x h i b i t i o n s a n d t o t h e d i r e c t i o n o f a r t i n g r a p h i c d e s i g n p r o j e c t s .

J i m e n a C h a v e s i s a s o u n d e n g i n e e r a n d a u d i o v i s u a l d i r e c t o r . S h e s t u d i e d a t t h e U n i v e r s i d a d A b i e r t a I n t e r a m e r i c a n a a n d a t t h e

P r o v i n c i a l S c h o o l o f F i l m a n d Te l e v i s i o n o f R o s a r i o , A r g e n t i n a . I n J u n e 2 0 1 9 , s h e w a s c h o s e n , a m o n g o t h e r e m e r g i n g f i l m m a k e r s f r o m

d i f f e r e n t c o u n t r i e s , t o b e p a r t o f t h e p r o j e c t T h e S o u n d o f S u m m e r w i t h d i r e c t o r L u c r e c i a M a r t e l , i n B a r c e l o n a , S p a i n . S h e c u r r e n t l y

w o r k s i n a u d i o v i s u a l p r o d u c t i o n s a s a s o u n d e n g i n e e r a n d p r o j e c t w r i t e r w h i l e f o c u s i n g o n c r e a t i n g a n e x p e r i m e n t a l a u d i o v i s u a l

d e v i c e l i n k e d t o s o u n d a n d s o n g i n a n e x p a n s i v e k e y .

L I N K T O B E H I N D T H E S C E N E S

D O W N L O A D P O S T E R S

P o s t e r s

P o s t e r s

D O W N L O A D P O S T E R S

I n n o v a t i v e P o s t e r s

D O W N L O A D P O S T E R S

D I R E C T E D , W R I T T E N , & E D I T E D B Y:

F e l i p e M a r t i n e z C a r b o n e l l

P R O D U C E R ( S ) : F e l i p e M a r t i n e z C a r b o n e l l ,

C a m e r o n J a m e s W h e e l e r

E X E C U T I V E P R O D U C E R : C a r o l i n a M e d i n a

C A S T: C e c i l i a L i C a u s i , J u l i o C h i a n e t t a ,

M i r k o B u c h i n , L u d m i l a A l m o u a l e m

D I R E C T O R O F P H O T O G R A P H Y:

P a t r i c i o M o l l a r

1 S T A C : G o n z a l o S e r r a

2 N D A C : R o m i n a F e r r e y r a

E P K P R O D U C E R : C e l s o F l o r a n c e

A R T D I R E C T O R : L u c i a n o S t e c h i n a

B u y e r : M i l a g r o s A r g u e l l e s

C O S T U M E D E S I G N E R : L i z a Ta n o n i

H M U : M i l a g r o s A r g u e l l e s

P R O D U C T I O N M A N A G E R : L u c i a G o ñ i

1 S T A D : C a r o l i n a M e d i n a

S E T PA : G u i l l e r m o E r i j i m o v i c h

G A F F E R : L u c a s P e r e z

E L E C T R I C S : R a m i r o A n t o g n i n i ,

M a n u e l a C a n t e r o

K E Y G R I P : A n t o n i o D a y u b

S O U N D M I X E R : J i m e n a C h a v e s

B O O M O P E R AT O R : C l a r i s a C o r s o

S O U N D D E S I G N B Y:

G e r m a n R o f f l e r , M a r t i n A c t i s

M U S I C B Y: C a m e r o n J a m e s W h e e l e r

V I S U A L E F F E C T S B Y: J u a n J o s e S a n c h e z

C O L O R I S T: E m i l i a n o M u ñ o z

P O R T R A I T S B Y: A n d y L e y e n d e c k e r

G R A P H I C D E S I G N B Y: M a l e n a S a l c e d o

P R O D U C T I O N C O M PA N Y: H e m i s f e r i o F i l m s

T E L E P H O N E : ( 3 1 0 ) 7 7 3 2 5 4 4

E M A I L : f e l i m a r t i n e z c a r b o n e l l @ g m a i l . c o m

f u l l c r e d i t s