Temperamento films

Temperamento Films was formed after Control Z Films, a company co-founded in 2001 by Juan Pablo Rebella, Fernando Epstein and Pablo Stoll. Control Z produced 25 Watts, Whisky, Hiroshima and 3 and also La Perrera, Acné, Gigante and Tanta Agua.

At Temperamento we intend to work along the cinematographic lines inaugurated by 25 Watts almost 10 years ago: making the films that we like to see. Personal films for an impersonal world.

Summer hit

Writer / Director: Pablo Stoll Ward | Production: Pablo Stoll / Florencia Larrea | 90 minutes | Color | RED CODE 5K DCP | Co production Uruguay / Chile | With the support form the Production Development Fund 2012 from ICAU (Uruguay).



That summer, Santi met the girl of his dreams. Unfortunately, there were zombies everywhere.


Director’s notes

The film’s title is a direct reference to those hyper commercial, mega catchy tunes which are played at the beach in the summer. Tunes from which there is no escaping, no matter how hard one tries. There is something else apart from a song from which the characters will not be able to escape in Summer Hit: the end of the world as we know it.

Although the genre is one of the most prolific, there are certain characteristics to the film that I believe will make it interesting.

The first of those characteristics is that the film begins as a summer love comedy which then turns into a thriller which eventually becomes a zombie film. That is to say, the film mutates, just like the characters, who are totally carefree at the beginning but get involved in criminal affairs (theft, a con) until they realize nothing of the former matters since the world is crowded with living dead.

The second is that the zombies in the film turn gradually and are aware of their destiny. Of what they no longer are, of what they shall become, of the way everything will change after they are dead and keep walking the Earth.

The highlights of the film emerge from the relationship between the living and the undead, some tragic yet amusing moments, as Hit is a comedy as well.

Apart from being fun, zombie films include a political factor: the world is coming to an end, and talking about the end of the world means talking politics.

George A. Romero made the best films on the subject.

Summer Hit does not dodge the subject, but, unlike previous films or TV series, the focus is not on the remaining human community and the way it experiences its new reality (with its tensions and syntheses of all the social issues we know about) but on the relationship between humans and zombies who are on the process of becoming so.

In the end, maybe there is not such a big difference between being alive and being dead.

In a wider political sense, Summer Hitwants to be a film in which we, people from Latin America, see ourselves: zombies walking the remote beaches of the Atlantic coast of Uruguay. The apocalypse arrives in the summer, when the beaches are packed with tourists. Summer Hit shows what happens to a Chilean boy on holidays with his cousins and some Argentinian con artists during those summer days.

Besides, there is humor in the fact that everything, even zombies, arrive late in Latin America.

Now: why making this movie?

When it comes to movies that belong to a certain film genre, it is important to remember that those were the movies which we grew up with, the movies we saw on TV as children, at matinee sessions and in video cassettes when we were teenagers.

I can trace back the idea of making a zombie film to the first film I saw on video tape: Lucio Fulci´s Zombi 2, an English-dubbed Italian production full of blood and guts which kept me awake at night for several nights.

Ever since then, those slow-moving, broken zombies that crave human meat have been my favorite monsters.

In addition, I believe that making movies that belong to a genre in Latin America is problematic.

Something that supports what I claim above is that every time a genre is visited, it is for the wrong reasons; whether for drawing attention at a local market or for trying to sell the film in the international market.

In both cases what is neglected is what should never be forgotten when a film, any film, is made: passionate storytelling, the fun of playing the most beautiful game there is, that of bringing dreams (or nightmares) to the screen to share them with others.

There is something else which makes me want to make this film, a personal element.

For the last 10 years I have been making movies which fit in the genre which may be called auteur films.

During that time I was horrified to see that there is a sort of division between filmmakers, those who are auteurs, and those who have a commercial appeal, as if the former could not direct and the latter could not feel.

I honestly believe that those are empty definitions.

There is only one kind of filmmaking, two at best: good filmmaking and poor filmmaking, and that’s it.

I enjoy movies as a filmgoer and as a director, and I am not an auteur, I am a filmmaker, period.

Enjoying Bergman does not prevent me from enjoying Roger Corman, and I believe that we as filmmakers must abolish this foolish division that only serves the market.

We aim at following the model of the 1970s European productions, implementing a South-South coproduction, avoiding going after funds coming from outside the region, betting on an effective distribution of the film within the countries involved in the coproduction.

Silver shadow

Writer / Director / Producer: Pablo Stoll Ward | Fiction Feature | Black & White / Color | 95 minutes |  RED 4K / DCP | Spanish Language |  Supported by the Hubert Bals Fund of the International Film Festival Rotterdam and the Boost! Programme by the Binger Institute



DANTE, the former bassist of a once popular rock band, must pull his life together but he falls in love with a married former classmate, and has to cope with his best friend’s ghost. On top of that, nobody listens to cassette any more. Silver Shadow is a comedy about love, music & death.

Silver Shadow has plenty of taped music, sex, surfing, a couple of fights, many jokes and a ghost. Silver Shadow is a black and white comedy about youth lost. That is to say, a comedy about death.




Born in 1974 in Montevideo, Uruguay.

1997 graduate of Universidad Católica del Uruguay with a bachelor’s degree in Communications.

He co-wrote and directed 25 Watts (2001) and Whisky (2004) with Juan Pablo Rebella. Both received several international awards and were commercially released in over 25 countries.

In 2006 and 2007 he worked as a screenwriter, director and occasional actor for the comedy show Los Informantes on channel 4 of Montevideo.

He is a founding partner of the film production company Control Z Films, where he has produced, apart from his own feature films and a dozen short films, the feature films La Perrera (2006), Acné (2009), Gigante (2010) and Tanta Agua, currently in post production.

Summer Hit is the first project in which he will be in charge of both the creative and executive production.

In 2009, Hiroshima, his first solo project, was selected for film festivals around the world, as well as being commercially released in Uruguay, Mexico, Brazil and the USA.

He directed music videos for Uruguayan musicians and documentary short films for the municipal TV channel TV CIUDAD.

He has worked as a free lance screenwriter for several years. Scripts penned by him have been bought by Taxi Films in Uruguay (El fin del mundo, TV series) and FOX LA (13 días, TV series).

He has tutored screenwriters for the Fundación Carolina (Spain) and has been a jury in several funds, such as SUNDANCE/NHK Filmmakers Award, the FONA (Uruguay), the CONACINE (Perú)

3, has been premiered at Director’s Fortnight at Cannes 2012.

Temperamento films
Temperamento Films

Maldonado 2004/103, Postal Code: 11200, Montevideo, Uruguay
Phone: (+598) 2411 7539 | Email: temperamentofilms@montevideo.com.uy

Logo design: Luis Bellagamba. Web: venado