Latin American highlights - Clermont-Ferrand FF 2025: Jacaré

Pedro is a teenager who sells drinks in the traffic jam on an expressway that takes thousands of people to the coast during summer. Driven by curiosity and desire, Pedro embarks on an adventure that transforms him profoundly.

Victor Quintanilha’s short is a transportative journey into the lives of our protagonists that’s full of heart.

Where did the idea for the film come from?

The idea for the film Jacaré came to me on my way back from visiting some relatives. The route back to my house passes through the road where we filmed the short, and during the summer, that road is often clogged with long traffic jams. In this setting, a whole mini-economy emerges, with vendors selling drinks and snacks to travelers heading to the beaches. I was stuck in one of those traffic jams, trying to get home, and, as often happens in those moments of idleness, my mind started to wander, and that’s when ideas tend to come to me—ideas that eventually turn into scripts.

As I watched the vendors walking between the cars, selling their goods under the blazing sun, a thought crossed my mind: what if I told the story of someone who works in these traffic jams on the way to the coast but has, ironically, never seen the sea? From that question, I began to unravel the idea, and little by little, it took shape and became what Jacaré is today.

It’s a sunny story, full of warmth, where I explored the power in something as simple as breaking free from routine and discovering something new.

Can you tell us about the shooting process and location?

Filming this short was, in many ways, a truly enjoyable experience because we were in places that are very familiar to me—places I’ve been visiting since childhood. What made it even more special was how much my relatives were involved in the process. It was a beautiful experience to see my uncles and cousins actively contributing. That’s something I’ll never forget and will always be grateful for.

That said, making this film came with its fair share of challenges, and perhaps the biggest one was recreating a traffic jam. When you stop to think about the logistics, you realize how complex it actually is. How do you get that many cars without a big budget? Where can you film the scenes without disrupting traffic? Who can drive all these cars to position and adjust them as needed? And how do you calculate the impact on the shooting schedule? There were so many questions that made filming those scenes incredibly stressful. But, despite all the stress, it’s very rewarding to see the final result and know that all the hard work paid off. Still, the lesson learned is clear: never write a scene with a traffic jam again.

What hurdles did you face?

Filming on the beach turned out to be a real challenge. I wanted the camera to be as close to the actor as possible so we could capture all his emotions during this important experience for the character. But it quickly became clear that this decision brought a whole set of obstacles. The waves were relentless, and with the ocean moving so much, we kept losing our shots. On top of that, the noise from the sea made it almost impossible for the actor to hear my directions.

The cold water was another issue—the actor was shivering so much he couldn’t stay in for long. We had to keep cutting to give him breaks to warm up. And, of course, the camera wasn’t too happy about being in the water either. It started overheating, and before we knew it, the waterproof casing fogged up, making it hard to get good shots.

Despite all of that, the team really pulled together and adapted to each setback, and in the end, we managed to get the best we could out of the situation. But honestly, there were moments when I wasn’t sure it was going to work. And I promised myself right then and there: never again will I write a scene in the ocean.

What is your background as a filmmaker?

I graduated in Film Studies in Rio de Janeiro and later specialized in sound for cinema at EICTV in Cuba. Since 2016, I’ve been working as a dialogue editor and ADR supervisor on films and TV shows—this is my main job, the one that supports me. But from the very start of my studies, I’ve always found ways to carve out time to write and direct my own projects, to tell my own stories. In 2020, I released my first professional short film, "Little Portugal", which earned a Special Mention at the 2021 Clermont-Ferrand Film Festival.

I’m someone who’s always observing and open to the world around me, as it’s the reality I live in that inspires me to create stories—films that connect with people and hopefully make a positive impact on their lives.

What stories would you like to tell next?

My next short film is called "Saara", and it’s set in Rio de Janeiro’s most important street market. It follows Niàn, a 55-year-old Chinese man who owns a variety store, and Marlene, a 53-year-old woman from the northern province of Pará, Brazil, who runs a small diner. Their paths cross at a pivotal moment in both of their lives. Marlene is on the verge of returning to her homeland, something she’s dreamed of for years, while Niàn feels trapped by a store he inherited and can’t escape a reality he no longer wants.

Both seek belonging and share dreams of a future where their different origins are bridges, not barriers. When Niàn’s shop is shut down by the authorities for safety violations, Marlene steps in to support him as he navigates the uncertainty ahead. Together, they find comfort and hope in the face of adversity, showing the strength of empathy and resilience. As their lives become more intertwined, one question remains: will they find the courage to rewrite their stories, or will the weight of the past keep them bound to a life they never wanted?

What do you like about the short format?

I love a quote by Eliseo Altunaga, a great Cuban screenwriter, who says: "A short film is like an arrow that goes straight to the heart."

For me, the short film format has that unique power to impact the audience in just a few minutes. It is like an espresso—intense and concentrated, leaving its flavor lingering long after it’s over. Shorts are like doors that, when opened, lead to a deeper exploration of the themes they touch on. And that’s incredibly enriching—it’s an irresistible invitation to dive into realities and discussions that extend far beyond the film itself.

What are your hopes for the festival?

In 2021, when "Little Portugal" was selected for the festival, I wasn’t able to attend in person due to the pandemic, so this is a really special opportunity for me. I’m incredibly grateful to have a second chance to be part of the festival and finally experience it in person. I’m excited not only to share the film with the audience but also to connect with other filmmakers, producers, and creatives from all over the world. The chance to discuss our work, exchange ideas, and learn from each other is something I’ve been looking forward to. I hope this experience will help me grow both personally and professionally, and that the film will resonate with those who see it, sparking conversations and reflections beyond the screen.

Contact us if you’d like to find our more.