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Argentina’s Gentil Cine and El Borde, Brazil’s Vitrine and Punta Colorada, Spain’s Doxa and French company 4a4 Productions have teamed for Albertina Carri’s seventh feature “White Roses, Fall!,” a gender-themed road-trip where the main characters include a porn filmmaker, a trans grandmother, non-binary grandchildren and lesbian clairvoyant vampires.

“White Roses, Fall!” centers on Violeta, a young film director who once made an exultant lesbian porn movie and is now hired to make a mainstream and ecological porn feature. She struggles with her ideas about genre and gender, which prevent her from shooting. Then she goes on the run with her feature debut’s actresses, finds a singular island and is struck by a new idea–she now wants to make a documentary about new formulas to express love.

Conceived as a collective project, this feature “requires multiple wills and resources. It will be shot in Argentina and Brazil,...

Close-Up is a feature that spotlights films now playing on Mubi. Albertina Carri's The Daughters of Fire is exclusively showing March 23 - April 21, 2020 in Mubi's Undiscovered series.Dating back to making shorts in the late 1990s, Albertina Carri has become a significant iconoclast in Argentine cinema in both realms of fiction and non-fiction films. Film and politics run in her blood and have long informed her confrontational and subversive sensibilities. As a queer woman, sex and gender amid homophobia, sexism, maschismo culture, and the male gaze also inform her work and career, which in addition to filmmaking also has her working within Argentine film culture as a major creative force behind Argentina’s Lgbtq film festival, Asterisco. Her most recent feature, The Daughters of Fire, is provocative in its explicit scenes among a group of queer women in which sex is presented in shockingly honest and upfront detail in fully pornographic splendor.

Ela Bittencourt's column explores South America’s key festivals and notable screenings of Latin films in North America and Europe.In The Heart of the World“Our cinema is maximalist,” Gabriel Martins and Maurílio Martins told me at the 48th edition of the International Film Festival of Rotterdam (Iffr). The two (unrelated) Martins hail from the periphery of Belo Horizonte, in the state of Minas Gerais, Brazil, which these days boasts a booming film industry. In addition to the two, André Novais de Oliveira, also present at the festival with a short, Quintal (2015), and a new feature, Temporada (2018), and in the past, filmmakers such as Affonso Uchoa of Araby (2017) and Juliana Antunes of Baronesa (2018), all have come from Minas. In the case of Gabriel and Maurílio, their intense cinefilia, which encompasses the love for fluid camerawork of James Gray, for Sergio Leone’s westerns, for comedy and the 1970s and ‘80s American movies,...