Just as European directors lend visual style and technique to mainstream US commercials, Latin American directors are often the prime suspects behind the cream of the commercial crop from US Hispanic ad shops.

For example, Los Angeles' Casanova Pendrill Publicidad had boards for two spots depicting people in search of better TV for the agency's client, DIRECTV PARA TODOS. One spot, "Frames" shows frustrated TV viewers trolling the city and watching the day-to-day activities of people through simulated TV screens (cardboard cutouts). In each case they are at first intrigued, and then disappointed as mundane reality fails to entertain them. The spots were directed by Uruguayan Carlos Ameglio through his stateside production company, LA-based Colibri Films (he's repped by Salado Films in Latin America).

"When we go for bids, we go for the look, and guys in South America and Europe have a style that is riskier. Carlos had the style in terms of storytelling and his reel is kind of like a Fellini movie," says senior art director Cesar Sanchez of Casanova, who has worked with a number of Latin American directors on US Hispanic campaigns.

Stanley, also with Colibri in the US, shot a Coors Lite campaign for the agency in his native Chile. Also, Flavia Moraes of Film Planet directed a previous DIRECTV campaign and Argentine director José Luis Marques shot a Hispanic Home Depot campaign for Casanova Pendrill.

With interest in Latino directing talent on the rise, it's no surprise US production companies are making representation deals with South American production companies. New York's House Films recently firmed up an agreement with Santiago, Chile-based Filmo to represent Chilean heavyweights Raymond Murtagh, Brian Welsh, Gaston Roca and Ariel Guelfenbein in the US. Murtagh specializes in visual storytelling, with his fantastic and everyday imagery tempered by his eight years as an agency creative in Chile. Welsh, a native of Scotland, has been ranging through the South American ad scene for 25 years and is Filmo's specialist in terms of large-scale productions and effects jobs, as well as for comedic talent direction. Roca comes from a cinematographic background while Guelfenbein comes to directing from the realm of effects.

"The Latin market is smaller and [more] accessible in a lot of ways," says House executive producer Ric DiIanni. "You can actually get people on the phone. Since it's a small market, you can hit all the agencies quickly and get the feedback."

Filmo president Eduardo Larriane is eager to see his directors take a piece of the action in the US, not only for the higher production budgets and day rates, but for the chance to expose his people to different styles of creative and to enhance their international presence.

"I began working in production in Paris," says Larriane. "I like the talent of Latin American people, but I don't always like the timing and economics -- dollars and days are not as clear here as they are in North America. I prefer the form of working in Europe or North America."

On the flip side, it's not unheard of for North American directors to direct for Latin American agencies. Steve Ramser of Los Angeles' Lotion recently traveled to São Paulo to shoot a Brazilian Coca-Cola spot for McCann-Erickson Worldwide, and stayed on to shoot a global Fujistu campaign for Bozell, New York. Likewise, Paula Walker of Los Angeles' Strato Films recently directed a two-spot Ebel campaign for JWT Peruana, Lima.

Known for her beauty and style imagery, Walker was approached by Mila Plaza, regional director at JWT Peruana, with the boards for two Ebel skin cream spots, "Vivafique" and "Hydroforce."

"Vivafique" draws from the shape of the Ebel product itself -- that of a lightbulb. In the commercial, a model is shown passing it over her body; each area it passes over is lit up. "Hydroforce," shot in studio has the model in an expanse of darkened water, with water alternately falling and climbing her taut form. Geometric motion graphics, emotive tints and split-screen visuals further stylize both spots.

Walker shot the commercials in LA with DP Rolf Kestermann and executive producer Lisa Nevius. Santa Monica's Planet Blue handled post and effects. Zippo Chagas was head creative, with creative Rafael Pastor and producer Anna Maria Mejia rounding out the JWT team.

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