Chile’s Cinestación, Italy’s Stayblack Team for Manuela Martelli’s ‘1976’ (EXCLUSIVE)

Chile’s Cinestación, Italy’s Stayblack Team for

Sotomayor, Zuniga, Carpignano, Coplon set to produce, Aline Kuppenheim to star

MADRID — Aligning two like-minded up-and-coming companies making acclaimed auteur-driven cinema, Jonas Carpignano’s Italy-based Stayblack has boarded “1976,” the directorial feature debut of actress Manuela Martelli, set up at Santiago de Chile-based Cinestación, headed by director-producers Omar Zuñiga and Dominga Sotomayor.

Aline Kuppenheim, the protagonist’s glamorous, smothering, but purblind mother in “Machuca,” will play “1976’s” lead.

Stayblack’s credits include both of Carpignano’s own films, “Mediterraneo” and “A Ciambra,” the latter a Europa Cinemas Label Award winner for best European film at this year’s Cannes Directors’ Fortnight. It also marks the first fruit of the Emerging Film Fund, a joint initiative between Martin Scorsese and Sikelia producer partner Emma Koskoff and Rodrigo Teixeira’s Brazil-based RT Features.

“1976” is also Stayblack’s first project with Latin America and Cinestación’s first co-production with Italy. Sotomayor, Zuñiga, and Stayblack’s Carpignano and Jon Coplon will produce.

A double Rotterdam Tiger winner with “Thursday Till Sunday,” her debut, and “The Island,” which she co-directed, Sotomayor is currently editing “Late To Die Young,” co-produced by RT Features, Argentina’s Ruda Cine and the Netherland’s Circe Films. Inspired by “San Cristobal,” which won a best short Teddy Award at the 2015 Berlin Festival, “Los Fuertes,” Zuñiga’s feature debut, is scheduled to shoot in the first trimester of 2018.

Also written by Martelli, “1976” is set at that time in Chile, three years into Augusto Pinochet’s bloody dictatorship. But it centers on a woman, Carmen, who is 49, has a good family, a house with a yard, a dog, a maid and severe insomnia which she fights with pills, the synopsis suggests. Then her bourgeois life is interrupted when the priest at the Italian church where she does charity work asks her to take care of a young revolutionary, a man he is giving asylum to, who has just been injured.

Shooting is planned for second semester 2018, with delivery in 2019.

“I feel the need to portray the small story behind the already known violence of Chile’s dictatorship,” said Martelli.

She added: “I want to do this from a new angle, focusing on gender and domestic spaces, to enter a house from 1976 and observe the dynamics between a woman and her family, at a period of time whose stories have commonly been told by men.”

Some of this focus is anticipated by 2014’s “Apnea,” a five-minute short directed by Martelli and…