In a move that further solidifies its position as a powerhouse of international auteur cinema, Piano, the Mexican production and distribution outfit, has officially boarded "Jengira’s Magnificent Dream," the latest project from Palme d’Or-winning Thai filmmaker Apichatpong Weerasethakul. The announcement, confirmed by Piano co-founder and producer Julio Chavezmontes, marks a high-profile reunion for the company, the director, and Academy Award winner Tilda Swinton, who is attached to star.
The collaboration comes on the heels of Piano’s significant global success with Ruben Östlund’s "Triangle of Sadness," which secured the Palme d’Or at Cannes and multiple Oscar nominations. For Piano, boarding Weerasethakul’s new feature is a natural progression, aligning with its long-standing commitment to backing filmmakers who push the boundaries of the medium and challenge conventional narrative structures.
"Jengira’s Magnificent Dream" serves as the follow-up to Weerasethakul’s 2021 feature "Memoria," a meditative exploration of sound and memory that also featured Swinton and was co-produced by Piano alongside Colombia’s Burning. While "Memoria" was set in the lush and urban landscapes of Colombia, this new project shifts the focus to the ancient landscapes of Sri Lanka.
The narrative follows Jengira, a Thai widow who travels to the historic rock forest of Sigiriya in central Sri Lanka. Her journey is a somber one: she has come to scatter her husband’s ashes. However, the pilgrimage takes a metaphysical turn as Jengira experiences blurred visions that distort her perception of time and space. These experiences draw her across various historical periods, and guided by a blend of scientific inquiry and deep empathy, she evolves into a living portal between the past, the future, and the spirit world.
Stylistically, the film is expected to be a unique hybrid. It reportedly blends a 1970s science-fiction aesthetic with a timeless world where modern technology exists as a jarring anomaly. In this environment, cell phones serve as the only tangible markers of temporal difference, further blurring the lines between memory, history, and the supernatural.
Joining Swinton in the cast are several familiar faces from Weerasethakul’s cinematic universe, including Thai actors Jenjira Pongpas, known for her role in "Cemetery of Splendor," and Sakda Kaewbuadee, a regular collaborator who appeared in "Tropical Malady." Canadian actor Connor Jessup, known for his work in "Falling Skies" and "Locke & Key," is also set to star.
A Chameleonic Approach to Production
The decision to board "Jengira’s Magnificent Dream" is emblematic of Piano’s broader strategy under the leadership of Julio Chavezmontes. Reflecting on the company’s 15-year trajectory, Chavezmontes noted that Piano has always prioritized creative vision over commercial formulas. This philosophy has allowed the company to move seamlessly between genres, languages, and formats.
"If something strikes us as potentially incredible, then the format is absolutely secondary," Chavezmontes said in a recent interview. He emphasized that the company remains open to a wide array of projects, provided they possess a distinctive and moving creative core. This "chameleonic" approach has seen Piano involved in everything from dark satires like "Triangle of Sadness" to experimental documentaries and high-concept dramas.
Chavezmontes originally established Piano as a vehicle to produce his own work, beginning with the 2012 film "Halley," which he wrote and which was directed by Sebastián Hofmann. However, the company’s mission quickly expanded. Through presence at international festivals and a focus on distribution and co-production, Piano began building a network of global partnerships.
One of the most pivotal moments in the company’s history occurred at the 2018 Sundance Film Festival. Piano’s production "Time Share" (Tiempo Compartido), which Chavezmontes wrote and produced, was competing in the World Cinema Dramatic section. The jury, presided over by Ruben Östlund, awarded the film the Best Screenplay prize. This encounter led to a lasting relationship with Östlund’s producing partner Erik Hemmendorff and producer Philippe Bober. Having already distributed Östlund’s "The Square" in Mexico, Piano was eventually invited to co-produce "Triangle of Sadness."
"Of course, the answer was an immediate yes!" Chavezmontes recalled. While "Triangle of Sadness" became the company’s most visible international success, Chavezmontes is careful not to let any single title define the company’s identity. He points to diverse projects like Mia Hansen-Løve’s "Bergman Island" and Abel Ferrara’s "Siberia" as essential components of the Piano portfolio—films whose value lies in their artistic integrity rather than their immediate box-office metrics.
Co-production as a Creative Engine
For Chavezmontes, international co-productions are more than just a financial necessity for independent cinema; they are a creative engine. He argues that the true definition of a co-production lies in the human collaboration—the exchange of ideas between creative teams and technical crews from different cultures.
"Ultimately, what really defines a co-production is the people who come together to collaborate," Chavezmontes said. "The creative team, the technical crew—they’re the ones who actually make the films. Money simply makes it possible to hire them."
This philosophy of genuine belief in the work is what Chavezmontes believes sets Piano apart. He describes himself as an "ordinary moviegoer" and uses his own emotional response to a script as the primary litmus test for whether Piano should board a project. If a story moves him, he believes it has the potential to connect with audiences far beyond the industry bubble.
Advocating for a Comprehensive Mexican Film Policy
Beyond his work as a producer, Chavezmontes is becoming an increasingly vocal advocate for the development of the Mexican film industry. While he welcomed the recent implementation of a 30% tax incentive for both domestic and international productions, he argues that Mexico needs a more comprehensive, long-term government policy for the audiovisual sector.
He noted that while states like Jalisco and Morelos have introduced their own local incentives, the country lacks the kind of stable, nationwide framework found in countries like Spain, Brazil, or Colombia. Chavezmontes views the audiovisual sector not merely as a recipient of cultural subsidies, but as a significant industrial catalyst.
"We’ve reached a point where people understand that the audiovisual sector isn’t simply a matter of cultural support," he pointed out. "It’s an industrial catalyst." With Mexico’s existing talent pool, infrastructure, and diverse locations, Chavezmontes believes the country is well-positioned to be a major player in the international production market, provided the policy framework is there to support it.
Current Projects and Festival Presence
Piano’s current slate reflects its ongoing activity on the festival circuit. At this year’s Morelia Film Festival, the company is celebrating its anniversary with a significant presence. This includes "The Meltdown" (El Deshielo), Chile’s official submission to the Oscars, directed by Manuela Martelli, which Piano co-produced.
The company is also handling the distribution for five films at the festival: Poh Si Teng’s debut documentary feature "American Doctor," along with "Mickey," "The Lost Mariachis," "Shana," and "Beauty Salon." Looking ahead to the Ventana Sur market, Piano is participating in the Proyecta Co-Production Forum with "The Absence," the debut feature from Mexican director Jorge Sistos Moreno. Moreno previously gained attention when his short film "The Darkness" debuted at Cannes’ Critics’ Week.
As Piano continues to expand its reach, Chavezmontes maintains that the company’s guiding principle remains an authentic, non-cynical belief in the power of cinema. "We make films we genuinely believe in," he said. "And I think that conviction is what people recognize in us."
Filmography: A Decade of Global Collaborations
The breadth of Piano’s work over the last several years highlights its role as a key bridge between Latin American cinema and the global stage. Below is a selection of the company’s recent and upcoming credits:
- The Meltdown (El Deshielo) (2025) – Co-producer. Directed by Manuela Martelli. World Premiere: Un Certain Regard, Cannes Film Festival.
- November (Noviembre) (2025) – Producer. Directed by Tomás Corredor. World Premiere: Toronto Film Festival, Competition.
- Our Land (Nuestra Tierra) (2025) – Documentary, Producer. Directed by Lucrecia Martel. World Premiere: Venice Film Festival.
- Disappearance (2025) – Co-producer. Directed by Kirill Serebrennikov. World Premiere: Cannes Film Festival.
- The Jockey (2024) – Co-producer. Directed by Luis Ortega. World Premiere: Venice Film Festival, Competition.
- Triangle of Sadness (2022) – Co-producer. Directed by Ruben Östlund. World Premiere: Cannes, Winner Palme d’Or.
- EAMI (2022) – Co-producer. Directed by Paz Encina. World Premiere: Rotterdam Film Festival, Competition.
- Malintzin 17 (2022) – Documentary, Producer. Directed by Mara Polgovsky and Eugenio Polgovsky. World Premiere: Rotterdam, Competition.
- Annette (2021) – Co-producer. Directed by Leos Carax. World Premiere: Cannes Film Festival, Competition.
- Memory (2021) – Producer. Directed by Apichatpong Weerasethakul. World Premiere: Cannes Film Festival, Competition. Winner Jury Prize.
- Bergman Island (2021) – Co-producer. Directed by Mia Hansen-Løve. World Premiere: Cannes Film Festival, Competition.
- Pobo ‘Tzu (2021) – Documentary, Producer. Directed by Yollotl Alvarado and Tania Ximena. International Premiere: Thessaloniki Documentary Festival.
- Siberia (2020) – Producer. Directed by Abel Ferrara. World Premiere: Berlinale, Competition.
- The Intruder (El Prófugo) (2020) – Co-producer. Directed by Natalia Meta. World Premiere: Berlinale, Competition.
- Love Me Not (2019) – Producer. Directed by Lluis Miñarro. World Premiere: Rotterdam Film Festival.
- The Accused (Acusada) (2018) – Co-producer. Directed by Gonzalo Tobal. World Premiere: Venice Film Festival, Competition.
- Knife+Heart (La Daga en el Corazón) (2018) – Co-producer. Directed by Yann Gonzalez. World Premiere: Cannes Film Festival, Competition.
- Antígona (2018) – Documentary, Executive Producer. Directed by Pedro González-Rubio. International Premiere: Cinema du Réel.
- Land (2018) – Co-producer/Executive Producer. Directed by Babak Jalali. World Premiere: Berlinale.
- Time Share (Tiempo Compartido) (2018) – Producer/Screenwriter (Julio Chavezmontes). Directed by Sebastian Hofmann. World Premiere: Sundance Film Festival, Winner Special Jury Prize for Screenplay.
- Opus Zero (2017) – Producer. Directed by Daniel Graham. Premiere: Los Cabos Film Festival.
- The Gaze of the Sea (Los Ojos del Mar) (2017) – Documentary, Producer. Directed by José Álvarez. International Premiere: Visions du Réel.
- Resurrection (Resurrección) (2016) – Documentary, Producer. Directed by Eugenio Polgovsky. World Premiere: Eco Film Festival, Paris.
- We Are the Flesh (Tenemos la Carne) (2016) – Producer. Directed by Emiliano Rocha Minter. World Premiere: Rotterdam Film Festival.
- Death in Arizona (2014) – Documentary, Producer. Directed by Tin Dirdamal. World Premiere: Visions du Réel.
- Echo of the Mountain (Eco de la Montaña) (2014) – Documentary, Producer. Directed by Nicolás Echevarría. International Premiere: Cinema du Réel.
- Kwaku Ananse (2013) – Short, Producer. Directed by Akosua Adoma Owusu. World Premiere: Berlinale.
- Halley (2012) – Producer/Screenwriter (Julio Chavezmontes). Directed by Sebastian Hofmann. World Premiere: Sundance Film Festival.
