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Title La Mexicana / The Mexican Woman Project Featurefilm Transmedia (HTML5 Project/ Interactive Art/ Interactive Film/ Transmedia Project) Genre Documentary Format: HD Lenght: 95 minutes Original version: Spanish Screening format: 1: 1,66 Platforms: Mobile/ Outdoor/Tablet/ Web Budget 160.000â‚Ź Producer: Leve Productora (Spain) Co-production in Mexico:* Co-production in Europe:* Distribution: * Distribution: * Distribution: * Internacional sales: * Timing Estimate production begins : March 2015 Estimate shooting begins:September 2015 Materials delivery: March 2016 Premiere: April 2016 Producer information Leve Productora S.L. www.levenet.com leve@levenet.com Contact Person Eva Serrats eva.serrats@levenet.com
Index Project description Synopsis The creation of a movement A reference: Medvedkin’s Film-Train The creation of a “Transmedia Universe” The different formats of La MexicanaCharacters Mexican women The map of the Journey Producers Technical team Timing The project map
Women without a Voice? “Silenced and silent. This is how women are portrayed in most of the media, both in the developing countries and the wealthy nations. Their silencing is globalized: in the South and the North, they are the subjects of only 20-30% of the news, and almost always as victims.” This Project is a reaction to these absurd statistics and proposes to ‘give a voice’ to women. It is not a question of denouncing or demanding a greater female presence in the media: instead, we want to show the World ‘in feminine’, through our personal stories and from our own viewpoints.
La Mexicana
Description. Synopsis
Four women decide to take a road trip across Mexico, from the beautiful beaches of Isla Mujeres in Can to Ciudad Juárez, where one of them, Mala Rodríguez, will give a concert. In the course of this ‘Road Movie’ they will come into contact with the realities of other women, all of them Mexican and each with a particular story to tell, who will plot their route.
The creation of a movement
This journey, like all journeys, is the story of a transformation and, like every movement, has a purpose and a direction. The beginning and the end are clearly marked: we leave a paradise and end up in an inferno, a hell. Many centuries ago Isla Mujeres was consecrated to Ixchel, the Mayan goddess of the moon, love and fertility. Ciudad Juárez is, today, the city with most femicides in the whole world, a place where women are killed with no explanation, for the simple fact of being women. But the way is open, and will be traced by the chain of encounters with various women across the vast expanse of Mexico. These are all strong women: active, independent, defiant, inspired, creative, dominant, triumphant, some well known and others totally anonymous, but each in her own way a living creator, an empowered woman. We will record these experiences as short autonomous audio-visual pieces, which will be made available throughout the course of the trip by way of 2.0 platforms in the form of project contents. The idea is to share — almost ‘live’ — the experience of meeting and getting to know these womem. None of their stories should leave any of us indifferent: they will constitute, one by one, turning points in the journey. The goal is to arrive in Ciudad Juárez accompanied by many voices and a valued audience: to be able to celebrate on that day and in that deeply symbolic place, the creation of a movement against this absurd silence of women in the 21st century. Mala Rodríguez will culminate the experience by giving a concert in Ciudad Juárez, most of the proceeds of which will be donated to the cause of the disappeared women.
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Isla Mujeres is a charming, picturesque Caribbean island in the bay opposite CancĂşn, on the Yucatan Peninsula, in southeastern Mexico. In pre-Colombian times the island was sacred to Ixchel, and believers left offerings with female forms on its beaches. Mayan women would make a pilgrimage to the island as part of their passage into womanhood.
The spate of femicides in the city of Ciudad JuĂĄrez, in the Mexican state of Chihuahua, date back at least to January 1993. Most of the victims are young women between 15 and 25 years old, from poor families, who left school to start work at an early age. Before being murdered, many of the women are often also raped and tortured.
La Mexicana
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A reference: Medvedkin’s Film-Train Aleksandr Medvedkin was a Soviet film director who created a pioneering filmtrain in 1932, with which he travelled the vast territory of the Soviet Union and made a series of films about the living and working conditions of peasants and workers. The Film-Train was a mobile cine studio mounted on a specially adapted train to shoot, develop, edit and screen documentaries and features in situ. In this 21st century in which we live, the creation and dissemination of — not to mention access to — audio-visual content directly involves the masses. If Medevdkin’s film-train covered the USSR shooting, editing and showing movies, our project is to facilitate use of the new technologies and our ubiquitous screens (TV, PC, mobile, etc) to be accessible and engage as many people as possible. In this light, the project has to be open and promote genuine participation if it is to grow. On the one hand with filmtrain through social networks, and on the other with sponsors, co-producers and others who may become involved in the project in the course of its development. The project will be set up to enable all of these people to intervene and as such it will have a very solid but adaptable technological structure from the start.
“In a country where the railway was the only means of communication, a mythical train would cross the entire country … and from there, all of documentary and fiction film combined...” “We took three passenger carriages, stripped out the interior, freed as much space as possible and installed the most important apparatus. The first, the most important, was the darkroom, occupying half a carriage. The other half was converted into the editing room. Alongside was an animation bench to film titles and make cartoons […] We could get to anywhere, stop the train, shoot the film, process iton the spot and then straight away show it to the people we had filmed.’“
La Mexicana
The creation of a “Transmedia Universe� La Mexicana is essentially a full-length documentary film produced by Leve Productora, but one that adopts a model of financing, production and distribution which makes the fullest use, in all of its aspects, of the available communication tools: Internet, social networks, communities and mobiles. In its Financing we harness the Internet’s enormous power of dissemination to bring in private investors and involve the audience in a simple way: by way of microfinance and investment, thousands of people can participate in the film through Crowdfunding, and become producers of the project. We aim to generate, long before the premiere, a huge Community which will help promote the film through participation in events, social networks and campaigns. In addition, the new paradigm in the consumption of content and the new audiovisual forms to which we are adapting today have prompted us to transform our paradigm of production, turning the traditional film into a Transmedia, project, so that alongside the core of the film itself its universe will also be narrated from different platforms: text, mobile, photos, audio and video around the central story.
We conceive La Mexicana as a First Action of this Movement, which will explore the applications of the audio-visual language and the mass media today as creative processes. The whole route and journey is conceived as a production / exhibition of audio-visual material and this entails the formulation of an envelping, immersive, inclusive and participatory narrative that expands across different platforms and formats.
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The project has a clear motivation : open an audiovisual quality space for expression of women.
The creation of a ‘transmedia universe’ not only means that different parts of the created narrative will be disseminated through different channels — TV, Internet/email, mobile, physical events, etc — rather than being restricted to a single medium, but also that each channel will contribute new aspects to the whole in such a way that the contents complement and reinforce each other, immersing the public in a shared experience. The success of a transmedia design involves going beyond mere information. It must provide goals and stimulate interest in its characters or events so as to prompt people to interact, bringing the story into aspects of their own lives and leisure (breaking away from the role of mere passive spectator). It is a matter of creating content that engages the public in a variety of ways, according to people’s interests, taking them into consideration from the outset and involving them right to the end.
La Mexicana
The different formats of La Mexicana As a Transmedia project, La Mexicana will produce content for different formats. We can classify these as: Structural Formats Those configuring the key content for the development of the story and the ovement.
Formatos estructurales “Women without a voice� (Trailer) This is the catalyst of the project: the moment it is made public. It outlines the situation and invites the audience to become actively involved in the movement. The Trailer will define the style and tone and activate the 2.0 platforms. The crowdfunding campaign will be launched, inviting the audience to become producers of the project. La Mala, as a public figure, will have a decisive role here. 13 mexican womens (webisodes) These are the backbone of the story. They consist in the online posting, while the trip is actually taking place, of film portraits of 13 Mexican women. One by one, each will recount a personal story in the first person. Every woman will open up a different reality for us and constitute a turning point in the journey. All of the clips will be provocative and as such will have a decided viral intention. The selection of the thirteen women will take into account the range of social, generational and territorial difference.
Parallel Formats They are contents that will only be created if a relationship is established with a brand, sponsor or distributor willing to fund them. They will be germane to the story and help expand the universe of the film.
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La Mala in Ciudad Juarez (Concert/ Event) Conceived as an end-of-the-journey party, this is the highlight of the project. We are working on the organization of a free concert by Mala Rodríguez in the city, which will be recorded and disseminated. This music product will be an important point of connection with the public experiential factor. La Mexicana (the Documentary) This will be made at the end of the trip, incorporating material recorded in the course of the journey: the thirteen portraits, the making-of of the trip and the closing concert. It will have a roadmovie structure.
Formatos paralelos “Brujas de viaje / Witches on the Road” (Reality Show) Directed by Marieta Petchanska, the reality show is a product for TV. The fictionalized narrative elements needed to ‘situate’ the four main characters will be introduced, giving rise to a series of all funny, crazy adventures. La Mexicana. Photobook Curated by Eva Serrats, the print edition of photos of the trip, capturing significant landscapes, characters and moments of the experience. La Mexicana. Original Soundtrack Curated by La Mala, recordings of the sounds (wild tracks) and music head on the trip.
The Map of the Journey From Isla Mujeres to Ciudad Juárez, the map traces a meandering itinerary through Mexican territory, marked by encounters with remarkable women. “The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.” PROUST
La Mexicana
Characters. Four women will undertake this journey, and become the drivers and motors of this story. Each of us will take on a professional role in the production of the documentary, in line with our experience and personality. But this project is all about involvement. To be in it is to be an integral part of the story. And each of us is, in herself, a different woman and will live the experience from her own point of view.
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MARÍA (Mala Rodríguez) is the rapper. She is the engine of the truck! She believes in female power. She likes to meditate and do yoga. She loves to eat and sleep, but she never has time for a siesta, because she has a lively mind and a heart that beats like a drum. At the same time, she might well be an hour late for a meeting because she was buying earrings in a street stall. She’s fun to travel with, an improviser, always provocative. She is the first to change the journey plan and break the rules. Sometimes sweet, sometimes sour, María is a woman you can never forget. She is AIR. ALBA is the producer. She drives the truck in every sense. Alba is mad about order, but behind her seriousness and organizational skills is an insatiable adventurer. She likes the music of Nine Inch Nails and dancing. She is a woman who drives men wild and knows how to use her beauty to get what she wants or just to have fun. But when she gets aggressive, everyone knows that you don’t mess with that pretty face. And if she has to lift 30 kilos, she doesn’t think twice. What she wants is to be an activist. She is EARTH. EVA is the architect. She brings the road map. She is the intellectual of the group. She is reason and wisdom. She is the director of the documentary. The only thing she’s interested in is making a powerful documentary on a crucial social issue. Taking part in this show is something that doesn’t really go with her personality, but she is willing to do it to achieve her main goal. Behind a rather cool exterior she hides a loving warmth. Eva is a woman dedicated to social revolution, and a member of numerous organizations and platforms that fight against inequality, sexism, and injustice in general. She is FIRE. MARIETA es la surfera. This girl has gasoline. She is the one who finds the stories and the characters. She is a filmmaker, a dancer and a hopeless romantic. She loves the sea, parties, good music and good food. She wouldn’t hesitate to take part in a chilieating contest or knock back tequilas with her friends. She likes to try all the flavours and is fond of stirring things up. Though she might sometimes provoke her friends with macho comments, Marieta also believes she can change the world. If possible with a lot of smiles and a lot of love. She is WATER.
Mexican Women (notes for a choice). Intelligent, visionary, passionate and talented: that is the who will make up this list, but their identities cannot be revealed at present while the project is still under construction. Some of these women are well known due to the fact in their particular spheres they have achieved awards, acclaim and high positions. These are women who have made their way in such diverse fields as politics and culture, economy and sport, communication and science. Other are ordinary women, unknown. Perhaps because life worked out that way, perhaps because they have never wanted to show their potential. From out there on the front line, have earned our admiration through their work.
La Mexicana
Producers. Technical team Direction and film sripts Eva Serrats Documentation Sol López Riestra (MX)*, Eva Serrats Photography Víctor Morilla Sonido Directo Elena Coderch*, Maria Rodríguez Sound Editing Alex Vilches Film Edition Marieta Petchanska, Maria Inés Boffi Production Manager Alba Serrano Graphic Design Nefudesign Social Media Lewis&Carroll*
Development project timing January 2015– April 2016
2015 MARCH Project presentation at ICAA Ayuda sobre proyecto Travel to Mexico DF: Documentation and networking Co-production in MX APRIL Starts colaboration with MASTER DOCUMENTAL CREACIÓN UPF MAY Pitch Docs BCN Possible incorporation co-producer MX
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JUNE Project presentation at AYUDAS PROGRAMA MEDIA DESARROLLO Draft presentation at TVE Project presentation at TV3 JULY Resolution ICAA Commission TVE AUGUST Travel to MX (documentation, characters, permissions) SEPTEMBER Project presentation at ICEC PRODUCCIĂ“N Resolution TVE Resolution TVC OCTOBER Resolution ICEC, MEDIA Pitching Docs DF NOVEMBER-DECEMBER Shooting in MX
2016 Image editing at postproduction: 12 weeks Creation and recording Soundtracks Sound Editing Master DCP Digital color Sound mixing: 2 weeks Transfer d DCPI Copies Subtitled Classify the work and request for Spanish nationality APRIL Premiere in Spain and Mexico Internacional Premiere * This equipment and schedule may be altered depending on the treatment and resolutions of the various state and / or regional administrations.
The project map Preproduction
The Journey
Documentation
Shooting
Script
Webisode Edition
Art Direction
Online platforms management
Funding Sponsorship Product Placement Crowdfunding
Funding
Postproducci贸n Documentary Production Photobook Edition Album Edition Music and Wildtracks Presentations Premieres and Events
La Mexicana
levenet.com Producer Information: Leve Productora S.L. www.levenet.com leve@levenet.com Contact Person: Eva Serrats eva.serrats@levenet.com