Osvaldo Benavides, actor, screenwriter, and founder of Agasajo Films
It took 15 years for the actor, screenwriter, and now director and producer Osvaldo Benavides to bring his film Noche de Bodas to movie theaters, which will premiere on March 7 in Mexico, under the distribution of Videocine and the co-production of Traziende Films. The film became the project that gave life to the production house Agasajo Films, founded by Mariana Alcántar and Priscila Amescua, aiming to promote original content for all windows.
“The original idea is mine and Jorge Hernández, who was initially responsible for its direction, which I took on years later, in addition to working with Issa López, who helped me work on the scale giving birth to the script. When we began working on the project, I partnered with Mariana Alcántar and Priscila Amescua to create Agasajo Films. Traziende Films supported us with their know-how, equipment, and offices, and Videocine was involved in its development, which they paid for, including the distribution,” he said.
To achieve this project as a director, Benavides used his intuition. “Trusting what I felt, to choose talent and team, and to make any decision, it had to come from my first impulse without hesitation. I restructured what directing, production, and writing are. I have learned a lot about the work of writing, producing, directing, visualizing, post-production and marketing, making the film before filming it, and being involved in everything to make it the way we want. My job as a creative is to connect with people and if what I think works.”
The actor noted that the filming took six weeks. He and actress Ludwika Paleta led the cast, with whom he made history on TV by working as a couple in the telenovela María la del Barrio in the 90s, and now she is also part of the production team. “Lucía’s character was always in mind for her; she has been familiar with the project since day one, and it is also her film because she is an associate producer. She is the person who has worked with me over the years. I like to work with people that I admire and have talent.” The cast also includes Marcela Guirado, Daniel Tovar, Verónica Langer, Daniel Tovar and Ricardo Polanco.
NOCHE DE BODAS PANORAMA IN THE AUDIOVISUAL INDUSTRY
The producer and director also mentioned that Mexican cinema is always in a complicated position compared to other media. “Competing with the existing Hollywood releases is difficult. Regardless of how much people like it, you compete for a space in the theaters. Furthermore, since the strike ended, the films that were on stand-by have been released, and it was difficult for us to find a window for the film, even though we have been careful not to release it at a bad time. It is difficult for Mexican films, and few have managed to pay the debt they acquire and generate something for the producers.”
Regarding the content, he said that many people resist leaving home and prefer to watch everything on their screen or cell phone. “But others know what the cinema experience is and will continue going. In Mexico, there was an excess of romantic comedies that ended, then came comedies and horror, and with this, I hope people want to see it [Noche de Bodas] and satisfy their need for a good romantic comedy.”
STREAMING AS WINDOWS OF FILM PRODUCTION AND DISTRIBUTION
Benavides highlighted that streaming platforms have become financiers of cinema. “Those of us who want to make films will make them even if that means avoiding cinema and going directly to these screens. You can’t fight reality. However, I want to see my work in the cinema because I like to go, and it’s possible to measure its audience. Platforms intend to win subscribers, while for cinema, it is to throw all the meat on the grill.”
AGASAJO FILMS
Finally, regarding his production house, he explained that he is responsible for finding, generating projects, writing, and developing. Mariana is the creative producer, and Priscila will be focused on numbers and contracts.
“Noche de Bodas is our first project. The idea of Asasjo is to work without abuse, with decent hours and salaries. We have an idealistic way of working, and we prove it can be done with this film. The objective is to find products, we already have three in development, which can be for cinema, TV, non-scripted, and an assembled palette to place them, and we want to continue looking for projects that resonate with what is commercial but that connect with people, starting from What we like. We want to be a production house that takes care of the content and grows to produce big things, with a bigger budget eventually. Now we have a non-scripted one, a small series, and a larger one.”
