A work in constant progress (and occasional regress).
Birthplace:
Montevideo, Uruguay
He is a director, producer, president of the Uruguayan Association of Film Producers and Directors. Esteban Schroeder's career begins with CEMA: an experiment that brought together a group of young people who in the last years of the military dictatorship began to make films without any prior cinematographic training. They focused on social themes, they created their own exhibition circuit and thought that television could be a more accessible destination than the big screen. In 1993, they sought the experience of a filmmaker trained in Europe, Beatriz Flores Silva, and directed a television unit that ended up becoming a classic in local cinema, Pepita the Holster (1993). A short time later, CEMA closed its doors and Schroeder began his solo journey, producing, writing and directing The Vineyard, another attempt for the small screen that ended up being released theatrically and brought 80,000 viewers to the cinema. Two years later he received support to make his second feature film, Matar a todos (2007), much more ambitious than the first, and which proposed a way of combining production and direction teams of Uruguay and Chile, at a time when co-productions were an uncharted territory. He was the executive producer of Selkirk, the real Robinson Crusoe (Walter Tournier, 2012), the first Uruguayan animated feature film, which premiered in more than 15 countries and attracted thousands of viewers around the world.
Cinematography:
1988 Mama Was Punk
Co-Producer:
1988 Mama Was Punk
2020 Emptiness
Director:
1987 On the Edge
1988 Mama Was Punk
1989 Uruguay, the Unrendered Accounts
1992 The Uncertain Hope
2000 The Vineyard
2007 Kill Them All
2020 Emptiness
Director of Photography:
1987 On the Edge
1988 Mama Was Punk
1989 Uruguay, the Unrendered Accounts
1992 The Uncertain Hope
2000 The Vineyard
2007 Kill Them All
2020 Emptiness
Executive Producer:
1987 On the Edge
1988 Mama Was Punk
1989 Uruguay, the Unrendered Accounts
1992 The Uncertain Hope
1994 Jaime Roos at 10
2000 The Vineyard
2007 Kill Them All
2020 Emptiness
2023 Miami
Producer:
1987 On the Edge
1988 Mama Was Punk
1989 Uruguay, the Unrendered Accounts
1992 The Uncertain Hope
1993 Pepita the Holster
1994 Jaime Roos at 10
2000 The Vineyard
2007 Kill Them All
2012 Seven Seas Pirates
2020 Emptiness
2023 Miami
Screenplay:
1987 On the Edge
1988 Mama Was Punk
1989 Uruguay, the Unrendered Accounts
1992 The Uncertain Hope
1993 Pepita the Holster
1994 Jaime Roos at 10
2000 The Vineyard
2007 Kill Them All
2012 Seven Seas Pirates
2020 Emptiness
2023 Miami
Writer:
1987 On the Edge
1988 Mama Was Punk
1989 Uruguay, the Unrendered Accounts
1992 The Uncertain Hope
1993 Pepita the Holster
1994 Jaime Roos at 10
2000 The Vineyard
2007 Kill Them All
2012 Seven Seas Pirates
2020 Emptiness
2023 Miami
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.