! Synopsis ! ! ! ! ! ! Rocío is a daydreaming Mayan girl who lives up in the craggy highlands of Guatemala. When her pregnant mother starts having premature contractions, Rocío finds herself on the adventure of a lifetime: She is sent to drive their herd of sheep across the mountainous pastures all on her own. Rocío is very young for such a task, and when she goes in search of a missing lamb, the rest of the herd wanders off. Rocío has to find how to rise to the challenge and to face her worst fears. ! ! ! ! ! ! ! ! ! ! ! ! The greatest house in the world! is a story of children, which we all are when facing our fears, the unknown, the uncertain… the fog. LA CASA MÁS GRANDE DEL MUNDO! The greatest house ! in the world! Guatemala, México · 2015 · 2.39:1 · 74 mins · DCP 5.1 ! Directed by! Ana V. Bojórquez! Lucía Carreras! ! Gloria López, María López, Elder Escobedo, ! Fabiana Ortiz, Daniel Ramírez! &! Myriam Bravo Sound Designer Samuel Larson Music Pascual Reyes ! Sound Enrique Ojeda Wardrobe Designer Gabriela Fernández Art Director ! Lola Ovando Editor León Felipe González Photography Álvaro Rodríguez S. ! Script By Edgar Sajcabun, Ana V. Bojórquez Produced by! PRISMA CINE ! FILMADORA PRODUCCIONES ! &! UNDERDOG! Coproduced by ! Ajenjo Cine, BDC Producciones, ! Argos Cine, Cinemascape, Cultura Visual, Beanca Films ! With the support by ! Programa Ibermedia, Cinergia, ! Escuela Internacional De Cine y Televisión (EICTV), ! Henkel Capital S.A. de C.V., Eficine 226 In Spanish and Maya Mam, with English subtitles Sandra Paredes contact producer! tel +52 55 67299034! cel +52 15514953570! e-mail [email protected]! skype sandraparedesmx! www.lacasamasgrandedelmundo.com ! Long Synopsis Rocío, a Mayan Mam Indian girl, lives with her Mom and her Granny in the inhospitable mountains of Sierra de los Cuchumatanes, in Guatemala. The three women earn a squalid living from a flock of sheep that is just a few days from being flayed, and thus has to be fed daily.! ! Rocío’s Mom is pregnant. At the end of a workday, as they gather the sheep into their pen, a sudden move gives her a strong contraction. Rocío gets scared and runs to get her Granny. They both help the mother back home, where Granny checks on her belly with her hands. The child’s position indicates that the birth will be sooner than expected.! ! The Mother is worried about the sheep, and Granny suggests Rocío should take care of it. The Mother does not agree because Rocío has never done it on her own before, but the birth is imminent and there is no other way.! ! The following day Rocío heads for the mountains with the herd. In the middle of a dry, yellowish meadow, Rocío runs into Ixchumilá, a skilled and responsible girl who has been herding on her own for quite some time now.! ! Rocío talks her into playing a game and both girls forget about their flocks. The girls build an imaginary house from rocks and compete to see who has “the greatest house in the world”. They also include in their houses the meadows and mountains they have roamed as part of their territory.! ! Ajpú, a local boy who spends time hunting small animals, stops his hunt. He threatens them with his slingshot, forcing them out of a territory he considers his own. Rocío confronts him, but Aipú hurls stones at them with his slingshot and the girls run away.! ! Back in the meadow, Ixchumilá quickly gathers her sheep. It is late and she must find green grass to feed them. Rocío counts her sheep and finds out one is missing. Worried, she talks Ixchumilá into helping her find it.! ! Together they reach the river looking for the animal. A large wooden bridge spans the river. The opposite end of the river is impossible to see due to a thick layer of fog covering it. Ixchumilá suggests that the sheep may have crossed the bridge and challenges Rocío to go look for it on the other side. Rocio tries to cross, but her fear of fog paralyses her. Ixchumilá crosses for her, but comes back empty handed. ! Time has passed and Ixchumilá cannot wait any longer. She bids Rocío farewell and takes her herd to green pastures. ! Clumsily herding her sheep, Rocío walks the mountains looking for the lost sheep. She reaches a summit. From it, she can see a ranch in the distance, and heads for it. ! The ranch belongs to a grumpy old man. Rocío asks him for the sheep. He says he has seen a sheep but it is in a deep ravine, and he does not think she can get it out. He tells Rocío to leave her flock in his care, so she can get the sheep out with more ease. ! Following the path traced by the old man, Rocío reaches a deep ravine. Sounds of desperate bleating come from the bottom. The girl tries to get to the sheep, but the terrain is too rough. ! From the other side of the ravine, Rocío discovers Ajpú looking at her. She swallows her pride and asks for help. The boy skillfully traverses the gulch and reaches the sheep, carrying it uphill. Ajpú refuses to give the sheep back and makes fun of the girl’s fear of fog. Rocío grows angry from the mocking, wrestles the sheep away from Ajpú and runs away from the ravine. ! She gets back to the old man’s ranch but there is nobody home, and her sheep are gone. The girl looks around the house and sees that the old man’s corral has clearly been out of use for a long time. ! The old man approaches from the distance, carrying bales of grass in his arms. The old man, who suffers from strong senile dementia, cannot understand what is going on. When he sees his useless corral, he has a flash of lucidity and realises his mind has betrayed him again. Frustrated and sad, he blames himself. ! Rocío takes pity on him and accompanies him back to his ranch while holding his hand. The girl leaves in anguish, with her lost sheep back, but missing the rest of her flock. ! After a long time looking for the sheep, she decides to go back home, hoping the flock has returned on it’s own. ! As she reaches the corral, she finds no trace of the flock. Rocío is bewildered. Granny calls her and the girl decides to tie down the little sheep far from the corral, hoping she will not get caught ! At home, Mom is in labor and in the midst of things Granny does not notice the missing flock. She sends Rocío to the river to fetch some water. ! As Rocío fills her clay vessel in the river, she hears the bleating of sheep from afar. The girl follows the sound and realizes the bleating comes from the other side of the bridge, the side unseen due to the fog. A frightened Rocío decides to cross. She takes a few steps forward but, when the thick fog moves towards her, she is paralysed by fear. Defeated, she drops to the floor holding the bridge’s cables while the fog creeps towards her. She closes her eyes. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Without her knowing, the fog has grown more still and slowly creeps in, enveloping her. As Rocío opens her eyes, she is enveloped by fog. There’s nothing to be afraid of. She lets go of the cables and walks into the fog, disappearing in it. The bridge shakes and, after a few moments, the girl comes out of the fog with the flock on her trail. They run, as if someone were chasing them. ! Triumphant and sure of herself, the girl returns home with her flock. The last rays of sun fall, and the cold is becoming unbearable. Rocío quickly herds the flock into the corral but finds herself facing the unexpected. ! Rocío heads back home sad. Her mother is giving birth and the girl helps her Granny with her labor chores. Her mother tells her she is a big girl now. In the kitchen, Granny notices Rocío’s sad eyes. She soothes her with the wisdom the years have given her and tells her the story of how the clouds make a nest in the sky, a popular legend in oral Mayan Mam tradition. ! ! ! ! ! ! ! ! ! ! ! Ana V.! Bojórquez! DIRECTOR · PRODUCER ! BA in Communication (Cum Laude) by the University Rafael Landívar in Guatemala City. She studied film at the International School of Film and Television (EICTV), where she majored in Cinematography. ! The greatest house in the world is her debut film. The project had the support of Ibermedia, Cinergia (Central America Audiovisual Fund) and the Mexican tax incentive. During the development of the film, she was invited to participate in various programs of counseling and training, such as BrLab 2010, Bolivia Lab 2010 Nuevas Miradas 2010 and Tareula II, as well as to international co-production markets within the framework of prominent film festivals in Latin America and Europe. ! She developed the project at the Berlinale Talent Campus in 2012. ! She is currently producing the feature “Tamara y La Catarina” (Dir. Lucía Carreras). ! Filmography ! La Casa Más Grande del Mundo (debut, director/producer). 74 mins. Fiction. 2015 Tamara y La Catarina (producer). In pre production. Fiction. 2015 Always on my mind (line producer). 10 mins. Fiction. 2013 The Garden of the Foundling. (director of photography). 10 mins. Fiction. 2009 Lucía! Carreras! ! DIRECTOR ! ! ! ! ! ! ! ! Lucía Carreras (México City, 1973) had her directorial debut with the feature film written by her Nos vemos, papá (Machete Producciones, 2012) This movie was internationaly premiered as part of the officcial selection at Karlovy Vary’s IFF in 2012 and its national premier in the officcial selection in the Morelia’s IFF. In 2013 Nos vemos, papá had a theatrical opening in Méxco, after being screened in several international film festivals. In 2014 Carreras co-directed with Ana V. Bojórquez the feature film Guatemala- México coproduction La Casa Más Grande del Mundo which will have its World premier as part of Generation Kplus at la Berlinale in 2015. Recently she directed the short film La Boda de Baba currently in postproduction and produced by Machete Producciones. She will be directing in 2015 the feature film from her own screenplay Tamara y la Catarina a México-Spain coproduction, that already has the support of the Mexican Cinema Institute (IMCINE) through FORPOCINE and is produced by Underdog, Filmadora Producciones (México) and Teyso Media Ficcion (Spain) In her facet as a screenplay writer Carreras participated as co-writer of the feature film Año Bisiesto (Dir. Rowe, 2010) movie that got the Camera D'Or at the 63o Cannes IFF and made Rowe and Carreras nominated to the Ariel (Mexican Film Academy Award) for best original Sscreenplay in 2011. She also co-wrote La Jaula de Oro (Dir. Quemada- Diez, 2013) feature film that had its world premier at the Un Certain Regard section at Cannes IFF in 2013, and is currently one of the most Internationaly recognized mexican films. La Jaula... was awarded also with nine Ariels, among which Carreras, Quemada- Diez and Gibrán Portela got the recognition for best original screenplay; also they got, in 2014, the nomination to the Iberoamerican Prize the Fenix for best original screenplay. Carreras also has participated as a cowriter in the feature film La Cama (Montero, 2008) and colaborated in the screenplay of Las Aparicio (Ortiz-Urquidi, in postproduction) Carreras has received several recognitions for her work as a writer from IMCINE, CONACULTA and IBERMEDIA for her screenplays Ofelia, Suerte de Eternidad, Tamara y la Catarina and El Contenedor (co -written with Octavio Hinojosa). Filmography 2005 Emilio (Independent) SF 2006 Jacinto Pata Sagrada (De la Riv Group) SF 2012 Nos vemos, papá (Machete Producciones) LF 2014 La Casa Más Grande del Mundo (Filmadora Producciones, Underdog) LF 2015 La Boda de Baba (Machete Producciones, in postproduction) SF 2015 Tamara y la Catarina (Filmadora Producciones, Underdog, in preproduction) LF ! Thanks to the support by ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
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