Pragda has acquired North American rights to Nicolás Pereda's film Everything Else Is Noise (Todo lo demás es ruido), securing the title ahead of its screenings at two of North America's biggest autumn festivals. The deal, reported by Variety, also brings nearly the entirety of Pereda's filmography — close to 20 films — to North American audiences through theatrical runs, retrospective programmes, educational distribution and digital releases.

The film screens in the Wavelengths sidebar of the Toronto International Film Festival, which runs 10–20 September, and in the main slate of the 64th New York Film Festival, running 25 September to 12 October. TIFF confirmed the Wavelengths selection in its official press release on 4 August (TIFF), and the New York Film Festival listed the title in its main slate announcement on 5 August (Film at Lincoln Center).

Everything Else Is Noise world-premiered at the 2026 Berlin Film Festival and won the Grand Prix at the Buenos Aires Independent Film Festival (BAFICI). The New York Film Festival describes it as a comic portrait of a musical family and a feminist-minded domestic comedy. Its synopsis, per the festival's site, centres on a middle-aged composer who lets a friend use her apartment to film a television interview, opening up a quietly revealing space.

The cast includes Teresita Sánchez, Luisa Pardo, Lázaro G. Rodríguez and Francisco Barreiro, with Rosa Estela Juárez Vargas also featured. Sánchez plays Tere, a cello musician-composer in whose apartment Rosa, a contemporary music composer, arranges her first television interview. TIFF's films listing categorises the production as a Canadian film (TIFF).

Pereda is a veteran of the New York Film Festival's Currents sidebar, a strand focused on innovative and independent work. His Summer of Goliath won the Venice Horizons best film award and top prizes from Chile's Valdivia festival and BAFICI in 2010. The Pragda deal now makes him one of the few Latin American directors whose near-complete body of work is available to North American viewers across theatrical and digital platforms.

Marta Sánchez, CEO of Pragda, is leading the company's expansion. This acquisition is Pragda's second pick-up, following its deal for the Chilean historical drama The Red Hangar by Juan Pablo Sallato. For a distributor whose remit covers arthouse and international cinema in North America, locking in both a festival-fresh title and a director's full catalogue in a single deal is a statement of intent — even if nobody at Pragda is calling it that on the record.

For audiences, the practical effect is straightforward. A film that has so far travelled the festival circuit from Berlin to Buenos Aires will reach cinemas and digital platforms in the United States and Canada, and a body of work spanning roughly two decades becomes available alongside it. Festivalgoers in Toronto and New York get an early look this September and October; the wider release will follow.