A Look Behind the New Emi Martínez Film on Netflix with Producer Magui Bravi | OneFootball

With Emi Martínez: The Kid Who Stops Time freshly hitting Netflix just in time for the World Cup, Urban Pitch sat down with Argentine actress and producer Magui Bravi to discuss the long road behind the project’s release, the current state of the global film industry, and her latest feature film, Hotline, which is also making its way to audiences in the United States.

When we last spoke with Magui Bravi, the project — then titled Emi On Off — existed as an ambitious animated feature centered on the early life of Argentine goalkeeper Emiliano Martínez. Created by celebrated cartoonist Liniers (Ricardo Siri) alongside journalist and writer Hernán Casciari, the film spent nearly two years in development limbo as production stalled entirely. Everything changed when Netflix stepped in, transforming the original animated concept into a hybrid live-action and animated documentary featuring appearances and commentary from some of football’s biggest names, including Lionel Messi.

Directed by Gustavo Cova and written by Casciari, Emi Martínez: The Kid Who Stops Time follows Martínez’s journey from his childhood in Mar del Plata to becoming one of the defining figures of Argentina’s 2022 World Cup triumph. The documentary combines archival match footage with Liniers’ distinctive 2D animation style, adapting Casciari’s story about a boy capable of arguing with soccer balls and stopping time itself. That fantastical premise becomes a powerful metaphor for Martínez’s career-defining ability to deliver impossible saves in football’s most pressure-filled moments.

The film also includes intimate interviews with Martínez’s family, teammates, and key figures from Argentina’s national team, including head coach Lionel Scaloni, offering a closer look at the rise of one of modern football’s most iconic personalities.

With the documentary finally reaching audiences, Bravi reflected on how the project ultimately came together after years of uncertainty, while also sharing her thoughts on an entertainment industry increasingly shaped by artificial intelligence, franchise-driven storytelling, and the growing dominance of established intellectual property. The conversation also touched on her newest film project, Hotline, ahead of its Argentine debut.

Emi Martínez: The Kid Who Stops Time Finally Takes Off

Urban Pitch: The project started as an animated series and eventually evolved into a full documentary featuring people like Lionel Messi and other members of Argentina’s national team. How did that transformation happen, and what was the journey like from those early stages to becoming a much larger Netflix production?

Magui Bravi: Those decisions ultimately came from (Netflix), but from the very beginning we always imagined this project as an animated story. The challenge was that animation is incredibly expensive, especially for something as ambitious as this. At first, the budget we had from the producers and partners seemed enough, but as the project grew, adding more layers, more creative ideas, and eventually bigger names, we realized it wouldn’t be possible to achieve the level of quality we envisioned on day one with the resources we had.

We already had an amazing foundation with Hernán Casciari and Liniers involved, along with the support of Emiliano Martínez himself. We had the script, the artwork, and the full development package, which in filmmaking is the first major stage of bringing an idea to life. But we also understood that if we wanted the project to truly reach its potential, we needed a bigger platform behind it.

That’s when Netflix came in and everything evolved. The format changed several times. At one point it was imagined as a series, then as a movie, and now it exists as this hybrid documentary film that mixes animation, fantasy, and real-life testimony. Once the platform got involved, they were able to bring in all these additional elements, including interviews and appearances from figures like Lionel Messi and other members of the Argentine national team.

What I love most is that the project still keeps the heart of what it was originally meant to be. Yes, it’s a documentary, but it also feels like an animated fantasy film with emotional storytelling and real testimonies all blended together. It was always created with younger audiences in mind too. I watched it with my 2-year-old son, who already loves football, and he was completely fascinated by it. I really think audiences — especially kids and football fans — are going to connect with it.

Since Dibu Martínez was closely involved with the project from its earliest stages, did he continue to have input as it evolved into this final version, even as it changed from the original concept into the documentary audiences will now see? 

I’m not entirely sure how involved Dibu Martínez was with the final cut specifically, because by that stage most of the process was being handled directly with the platform. That’s probably a better question for him. What I do know is that from the very beginning we had his full support and involvement, especially during the early development stages of the project. As for the post-production process and the final edit, I honestly can’t say exactly how much input he had there. But I imagine he was happy with the result, otherwise, things probably would have gone differently.

What do you think is the central message of Emi Martínez: The Kid Who Stops Time, and what do you hope audiences take away from watching the documentary? 

I think the main message of the documentary is that dreams really can come true. That idea is something that connects deeply with many of the projects I’m involved in. Dibu Martínez is one of our heroes in Argentina, and really the entire national team represents joy and hope for so many people. We’re a country that lives and breathes football. Not just Argentina, but all of Latin America, and Dibu has become one of the biggest symbols of that passion.

What makes this story special is that it shows kids that someone who once dreamed big in a small town can actually achieve those dreams. There are so many children who grow up wanting to play football, and stories like this remind them that it’s possible. I relate to that personally from my own experience in dance and entertainment. I was told many times that I wasn’t good enough or that I wouldn’t make it, and then life surprises you. That’s why stories of perseverance and achievement resonate so strongly. They remind people to keep believing in themselves even when others doubt them.

Hotline takes Magui Bravi to Cannes

Moving on to your latest project Hotline, which recently premiered at Cannes. How does that make you feel? You do many projects, as well as act, write, and produce. How special is this one?  

I’ve always been driven by good ideas. If I need to get involved in the script process, I will, and I truly enjoy producing, but acting is still what fascinates me the most. Little by little, though, I’ve found myself moving into a space where I’m not only performing but also helping tell stories from behind the scenes. Producing wasn’t something I originally set out to do, it just happened naturally, and I’ve realized I really enjoy it.

One thing I especially love is connecting people. Even if I’m not directly part of a project, I like helping others find opportunities. Sometimes projects come my way that I can’t take on, and instead of letting them go, I’ll recommend someone else I know would be perfect for it. I do that a lot, especially with women, because like in many areas of the film industry, it can still be harder for women to break through and get opportunities.

My latest project, Hotline, premieres in Argentina on June 18. The film already went to Cannes and has been pre-sold internationally, which is incredibly exciting. It has also won three awards so far, including two for Best Horror Film and a Best Actress award for me in Stockholm. The response has honestly surprised me in the best way possible.

What makes me especially proud is the team behind it. The cinematography by Facundo Nuble is incredible, the costumes by Taz Pereyra perfectly capture the era, the music by Marcelo Bormida is fantastic, and the visual work from Matias Rispau is beautiful. I mention all of them because so many people on this production are directors themselves, including assistant director Fabi Forte. It really felt like collaborating with a team of filmmakers who deeply understand the genre.

I’m speaking about the film with so much excitement because I’m genuinely happy and proud that it’s finally reaching Argentine cinemas, especially during a difficult release month dominated by football and the World Cup atmosphere. But honestly, maybe that’s perfect too. People can watch a match and then go to the cinema afterward and enjoy something completely different.

You became a mom recently, does Hotline being in Cannes still give you that desire to work in Hollywood, or because of the digital age and the access of millions going Hollywood isn’t necessary any more? 

My previous film (Runaway Revenge), which tells the story of an Olympic runner, was released in the United States just a week ago and the response has been incredible.

Of course, you always dream about eventually landing a role in a Hollywood film or spending time working internationally, but even if that doesn’t happen directly, it’s exciting to see Argentine productions reaching American audiences in different ways. In this case, the film was shot in English, which probably gave it an advantage internationally. The United States was actually the first territory to acquire it, which is unusual because for independent productions that’s usually one of the hardest markets to break into. Normally films begin with smaller territories and expand gradually, but here the U.S. came first, followed by Japan, where I had also received an award.

So the dream is always there. I’m someone who constantly moves from one goal to the next and keeps pushing forward. Obviously now life is a little different because I have a young son, so if an opportunity like that came along, I’d either have to travel with him or rely on my family a little more while I’m away. But those dreams and ambitions are still very much alive.

  View this post on Instagram   A post shared by Magui Bravi (@maggiebravi)

A Changing Industry

You’ve been involved in a lot of original projects at a time when the global industry is dominated by sequels, prequels, spin-offs, and established IP. In Argentina and across Latin America, though, there still seems to be a strong space for originality and new storytelling voices. Do you feel it’s still possible to make original films today, and what do you think the industry needs in order to keep pushing more independent and creative projects forward? 

It’s definitely difficult to find truly original ideas today, but they still exist. I read constantly because projects that are based on books or existing material already have a certain advantage in the industry. In fact, I have a project I’m developing right now that I can’t talk about yet because I’d die if it leaked, but it’s built around a very original concept that would eventually become a book as well.

I think both paths are valid. Original stories can absolutely work, but they usually take longer to convince producers and investors because familiar properties are always the safer bet. It’s obviously easier to make another Alien film than it is to invent a completely new creature and world from scratch. The same thing happens with casting too. It’s easier to go with actors audiences already know than to take a chance on someone new. I’ve experienced that myself throughout my career.

At the same time, I think originality often comes from how you reinterpret ideas rather than inventing something from nothing. I recently watched the first episode of the new season of Euphoria and noticed similarities to my film Runaway Revenge. The main character goes through something very similar to what my character Sofía experiences in that movie, and it made me realize how stories constantly echo one another. But even then, every creator brings a different perspective.

That’s why I always think about what Quentin Tarantino once said — that nothing is entirely new and everything has been done before in some form. The challenge now is finding fresh ways to tell stories, new emotional angles, and new voices that make familiar ideas feel alive again.

Sports seems to be the biggest driver of content as the future of many platforms, do you think this will hurt creative acting projects or everything will live together in some way like what Netflix or Apple TV are doing? 

Streaming platforms are evolving in a way that actually reminds me a lot of traditional television. Back then, you would channel surf and find a little bit of everything: movies, series, reality shows, live programming, short-form content, and I think platforms are starting to move back toward that kind of model. It’s no longer just about films and scripted series anymore. Now there’s room for documentaries, reality content, experimental formats, and all kinds of shorter productions.

I think the platforms are constantly studying what audiences respond to and adapting in real time. They’re trying different formats and seeing what works. In fact, I was recently contacted to produce a short-form project for a platform that would run between two and five minutes per episode, which shows how much the industry is opening up to new ways of consuming content. People’s viewing habits are changing, and the platforms are changing with them.

  View this post on Instagram   A post shared by Magui Bravi (@maggiebravi)

What is your view on AI and how it can hurt or help an industry that is facing a lot of challenges? 

I think the future will actually place even more value on what feels real and human. Among actors, theater has always remained the purest and most tangible form of performance because there’s no filter between the audience and the artist. Before cinema, I spent years doing theater and touring constantly, and when I finally moved into film I remember thinking, “I’m never leaving this world again.” But now I’m actually considering returning to the stage. I even have a very exciting theater proposal for next year involving a play I’ve wanted to do for a long time.

That’s why I think audiences will continue craving genuine human connection, especially as technology becomes more present in entertainment. At the same time, I don’t see myself fighting against technology. I didn’t resist social media when it emerged, and I don’t resist the changes happening now with artificial intelligence either. The reality is that these tools are advancing whether we like it or not, so I believe it’s better to understand them and adapt rather than simply reject them.

Of course, AI will change many things in the industry, and there will always be questions about preserving the legacy and identity of great actors and artists. But I truly believe there’s one thing technology can never fully replace: the experience of seeing a real actor performing live in front of you. That emotional connection, that energy shared in a theater between performers and an audience, is something artificial intelligence can imitate but never truly recreate.