Co-productions are increasingly the norm in Chile where state funds remain scant in a market of a mere 19.5 million inhabitants. Its new president’s campaign pledge last year to more than double the state’s contribution to the arts is not quite a reality, with a 16% increase noted so far. On the bright side, there has been an uptick in private funding, with some 50% of a film’s budget covered by private investors. To date, the audiovisual sector has seen a 31.5% increase in state funding this year compared to 2022.
Chilean filmmakers are also exploring new genres, straying from traditional dramas. More often than not — as in Maite Alberdi’s Sundance win for 2023’s “The Eternal Memory” — Chilean cinema has triumphed at one major festival or awards event after another.
Topping it all, Chile’s Pedro Pascal, whose star has continued its meteoric rise with “The Mandalorian” and “The Last of Us,...
Chilean filmmakers are also exploring new genres, straying from traditional dramas. More often than not — as in Maite Alberdi’s Sundance win for 2023’s “The Eternal Memory” — Chilean cinema has triumphed at one major festival or awards event after another.
Topping it all, Chile’s Pedro Pascal, whose star has continued its meteoric rise with “The Mandalorian” and “The Last of Us,...
- 5/16/2023
- by Anna Marie de la Fuente
- Variety Film + TV
Chile’s preeminent scribe Julio Rojas, whose serial podcast “Case 63” was Spotify’s most popular podcast in Latin America and was adapted into English with Julianne Moore and Oscar Isaac starring, is writing his first romcom after the global success of “Case 63.”
Titled “Detras de ti”, the upcoming project is being co-produced by Spain’s EvaFilms and David Naranjo’s Pris & Batty, best known for its hit comedies “8 apellidos vascos,” “8 apellidos catalanes” and “Toc toc.”
“Ever since I listened to ‘Case 63,’ I was very keen to work with Julio and bring his work to the big screen,” said Eva Cebrián of EvaFilms, adding: “Julio is an indisputable storyteller who has most understood the audio format, given his deep experience as a screenwriter.”
While Rojas has a predilection for sci-fi projects, Cebrián pointed out that romance was very much intrinsic to his work. “Detras de ti” will be a departure for Rojas,...
Titled “Detras de ti”, the upcoming project is being co-produced by Spain’s EvaFilms and David Naranjo’s Pris & Batty, best known for its hit comedies “8 apellidos vascos,” “8 apellidos catalanes” and “Toc toc.”
“Ever since I listened to ‘Case 63,’ I was very keen to work with Julio and bring his work to the big screen,” said Eva Cebrián of EvaFilms, adding: “Julio is an indisputable storyteller who has most understood the audio format, given his deep experience as a screenwriter.”
While Rojas has a predilection for sci-fi projects, Cebrián pointed out that romance was very much intrinsic to his work. “Detras de ti” will be a departure for Rojas,...
- 5/11/2023
- by Anna Marie de la Fuente
- Variety Film + TV
In a groundbreaking move, Constanza Arena, the former executive director of CinemaChile, has established Agencia La Luz, an agency and project incubator that will represent in international markets many of Chile’s foremost writing, directing and acting talents.
Many writers are connected to Chile’s fast-growing premium drama/audio scene. Julio Rojas, one Agencia La Luz client, created and wrote “Case 63,” Spotify’s most-listened-to scripted original podcast in Latin America, with an English-language version I the works starring Julianne Moore and Oscar Isaac, and co-wrote Pablo Fendrik’s Latino sci-fi series ‘The Shelter,’ from Starzplay, Pantaya, Fabula, Fremantle.
Enrique Videla and Paula del Fierro co-wrote Lucia Puenzo’s “La Jauría” for Fabula and Fremantle, while Videla, one of Chile’s biggest go-to scribes, co-wrote “Dignity” for Germany’s Joyn, “42 Days of Darkness” for Fabula and Netflix, “The Shelter” and “The Cliff” for The Mediapro Studio.
Agencia La Luz’s director...
Many writers are connected to Chile’s fast-growing premium drama/audio scene. Julio Rojas, one Agencia La Luz client, created and wrote “Case 63,” Spotify’s most-listened-to scripted original podcast in Latin America, with an English-language version I the works starring Julianne Moore and Oscar Isaac, and co-wrote Pablo Fendrik’s Latino sci-fi series ‘The Shelter,’ from Starzplay, Pantaya, Fabula, Fremantle.
Enrique Videla and Paula del Fierro co-wrote Lucia Puenzo’s “La Jauría” for Fabula and Fremantle, while Videla, one of Chile’s biggest go-to scribes, co-wrote “Dignity” for Germany’s Joyn, “42 Days of Darkness” for Fabula and Netflix, “The Shelter” and “The Cliff” for The Mediapro Studio.
Agencia La Luz’s director...
- 9/22/2022
- by John Hopewell and Pablo Sandoval
- Variety Film + TV
Led by a special screening slot for celebrated documentarian Patricio Guzman’s “My Imaginary Country,” plus Directors’ Fortnights “1976” and a new short by 2018 Cinéfondation prizewinner Diego Céspedes in Critics’ Week, Chile boats the biggest presence of any Latin American country at Cannes.
“Our cinema is a living and pulsating entity, a cinema full of risky auteurist viewpoints that are capable of expressing our particular experiences in a universal way and at the same level playing field as bigger filmmaking territories, says CinemaChile executive director Constanza Arena, taking note of Chile’s strong showing.
“The directors of a new wave of Chilean cinema take on powerful themes with deep socio-historical weight, but with fresh stylistically innovation, whether it’s political trauma in ‘1976’ by Manuela Martelli, or the LGBTQ+ theme in ‘Las Criaturas que se Derriten Bajo el Sol’ by Céspedes. With their daring, they are pushing forward a new generation of Chilean and Latin American cinema,...
“Our cinema is a living and pulsating entity, a cinema full of risky auteurist viewpoints that are capable of expressing our particular experiences in a universal way and at the same level playing field as bigger filmmaking territories, says CinemaChile executive director Constanza Arena, taking note of Chile’s strong showing.
“The directors of a new wave of Chilean cinema take on powerful themes with deep socio-historical weight, but with fresh stylistically innovation, whether it’s political trauma in ‘1976’ by Manuela Martelli, or the LGBTQ+ theme in ‘Las Criaturas que se Derriten Bajo el Sol’ by Céspedes. With their daring, they are pushing forward a new generation of Chilean and Latin American cinema,...
- 5/17/2022
- by Anna Marie de la Fuente
- Variety Film + TV
It’s a new dawn for Chile’s audiovisual industry. When Gabriel Boric, Chile’s youngest (at 35) and most left-leaning president since Salvador Allende, was elected in December, his pledge to more than double the state’s contribution to the arts was greeted with great fanfare.
After all, Chile’s prodigious film output this past decade has been remarkable despite the scant public support it has received.
“If everything we have achieved in the last 10 years was done with so little money, imagine what we can achieve with an increase in audiovisual funding!” says Constanza Arena, executive director of Chile’s film promotion org, CinemaChile.
In recent years, Chile has triumphed at the Oscars, starting when Pablo Larraín’s “No” was nominated for international feature in 2012, and culminating in an Oscar win for Sebastian Lelio’s “A Fantastic Woman” in 2017. Last Academy Awards season, Maite Alberdi’s documentary “The Mole Agent...
After all, Chile’s prodigious film output this past decade has been remarkable despite the scant public support it has received.
“If everything we have achieved in the last 10 years was done with so little money, imagine what we can achieve with an increase in audiovisual funding!” says Constanza Arena, executive director of Chile’s film promotion org, CinemaChile.
In recent years, Chile has triumphed at the Oscars, starting when Pablo Larraín’s “No” was nominated for international feature in 2012, and culminating in an Oscar win for Sebastian Lelio’s “A Fantastic Woman” in 2017. Last Academy Awards season, Maite Alberdi’s documentary “The Mole Agent...
- 2/10/2022
- by Anna Marie de la Fuente
- Variety Film + TV
Chile is starting its own big restart. Few national industries will have a larger online presence at this year’s Cannes Film Market. Big name news has broken in early market plays as well.
After features with Rachel Weisz and Rachel McAdams (“Disobedience”) and Julianne Moore (“Gloria Bell”), Academy Award winner Sebastián Lelio, (“A Fantastic Woman”) will associate produce “El Porvenir de la Mirada,” a doc feature that captures the trauma of some of the 460 protesters shot in the eyes by Chilean police during massive demonstrations that erupted in October 2019.
Set up at Storyboard Media, “Porvenir” is directed by distinguished Chilean doc filmmaker Cristián Leighton.
Even while gearing up to direct Joaquin Phoenix in A24’s “Disappointment Blvd.,” Ari Aster has signed on to executive produce Chilean stop-motion short “The Bones,” directed by Cristóbal León and Joaquín Cociña (“The Wolf House”) with a soundtrack composed by acclaimed U.S. violinist Tim Fain,...
After features with Rachel Weisz and Rachel McAdams (“Disobedience”) and Julianne Moore (“Gloria Bell”), Academy Award winner Sebastián Lelio, (“A Fantastic Woman”) will associate produce “El Porvenir de la Mirada,” a doc feature that captures the trauma of some of the 460 protesters shot in the eyes by Chilean police during massive demonstrations that erupted in October 2019.
Set up at Storyboard Media, “Porvenir” is directed by distinguished Chilean doc filmmaker Cristián Leighton.
Even while gearing up to direct Joaquin Phoenix in A24’s “Disappointment Blvd.,” Ari Aster has signed on to executive produce Chilean stop-motion short “The Bones,” directed by Cristóbal León and Joaquín Cociña (“The Wolf House”) with a soundtrack composed by acclaimed U.S. violinist Tim Fain,...
- 7/8/2021
- by John Hopewell
- Variety Film + TV
Women’s History Month could not be more significant for Chile’s fledgling Academy of Cinematographic Arts, which is proud to have selected Maite Alberdi’s acclaimed documentary “The Mole Agent” to fly the Chilean flag at the Oscars.
“Our first year of operation has been auspicious,” said Academy founder-president Giancarlo Nasi who pointed out that this was only the second time in Chile’s film history that it has sent a woman-directed film to represent the country, following Alicia Scherson’s “Play” in 2005.
“The Mole Agent” was also submitted to Spain’s prominent Goya awards, where it vies for the best Ibero-American film prize, and to Mexico’s Ariel awards.
Shortlisted for both the best international feature and documentary Oscar categories, the retirement center-set spy docu landed among the five nominees in the documentary category. “This is the first time that Chile has been nominated in this category and...
“Our first year of operation has been auspicious,” said Academy founder-president Giancarlo Nasi who pointed out that this was only the second time in Chile’s film history that it has sent a woman-directed film to represent the country, following Alicia Scherson’s “Play” in 2005.
“The Mole Agent” was also submitted to Spain’s prominent Goya awards, where it vies for the best Ibero-American film prize, and to Mexico’s Ariel awards.
Shortlisted for both the best international feature and documentary Oscar categories, the retirement center-set spy docu landed among the five nominees in the documentary category. “This is the first time that Chile has been nominated in this category and...
- 3/26/2021
- by Anna Marie de la Fuente
- Variety Film + TV
Nobel prize winner Mario Vargas Llosa one said that in Latin America, poverty, injustice and other social problems are too prominent to be ignored. So, the question: Can cinema change the world? has a special importance. “It obsesses me,” Chilean director Pablo Larrain told Variety a few weeks back.
“I have been around many U.S. documentary filmmakers who say that they want to change the world,” replied director Maite Alberdi in that same conversation. Alberdi’s latest feature documentary “The Mole Agent” is short-listed for both the International Feature and Documentary Oscars this year, and only her latest work to make a major cultural impact at home and abroad.
“I don’t know if we are going to change the world with documentaries, but I think that we can plant questions in people’s minds, and in the media,” she added. “There are films, documentaries, that you can plan...
“I have been around many U.S. documentary filmmakers who say that they want to change the world,” replied director Maite Alberdi in that same conversation. Alberdi’s latest feature documentary “The Mole Agent” is short-listed for both the International Feature and Documentary Oscars this year, and only her latest work to make a major cultural impact at home and abroad.
“I don’t know if we are going to change the world with documentaries, but I think that we can plant questions in people’s minds, and in the media,” she added. “There are films, documentaries, that you can plan...
- 3/8/2021
- by Jamie Lang
- Variety Film + TV
After enduring endless months of Covid-19 lockdown, Chile’s film and TV industry is revving up production once more. And several women are leading the charge.
Various high-profile titles are either in production or setting up dates, such as season two of Lucía Puenzo’s hit series “La Jauria” and, starting this month, Francisca Alegria’s debut feature, “The Cow Who Sang a Song About the Future.” Fernando Guzzoni’s “Blanquita” aims to start principal photography by July, says producer Giancarlo Nasi of Quijote Films, who also presides over Chile’s Film Arts Academy, founded in 2018.
For the first time, the 200-plus member Academy selected Chile’s submission to the 93rd Academy Awards, Maite Alberdi’s “The Mole Agent,” which was happily shortlisted in both international feature and documentary categories. Alberdi is hopefully indicative of the growing diversity and inclusion in Chile’s society on the whole.
“We are proud...
Various high-profile titles are either in production or setting up dates, such as season two of Lucía Puenzo’s hit series “La Jauria” and, starting this month, Francisca Alegria’s debut feature, “The Cow Who Sang a Song About the Future.” Fernando Guzzoni’s “Blanquita” aims to start principal photography by July, says producer Giancarlo Nasi of Quijote Films, who also presides over Chile’s Film Arts Academy, founded in 2018.
For the first time, the 200-plus member Academy selected Chile’s submission to the 93rd Academy Awards, Maite Alberdi’s “The Mole Agent,” which was happily shortlisted in both international feature and documentary categories. Alberdi is hopefully indicative of the growing diversity and inclusion in Chile’s society on the whole.
“We are proud...
- 3/1/2021
- by Anna Marie de la Fuente
- Variety Film + TV
Women are dominating the Chilean film industry more than ever, replicating what is happening across most of Latin America. In Bolivia, 85% of the producers are said to be women and in Mexico, nearly half of the audiovisual workforce is female. Of the 10 key Chilean titles participating at the Marché du Film Online Producers Network Spotlight this year, eight are produced by women.
Films made by this ever-growing generation of female producers are “ever more robust, of a larger caliber, with big casts, and made in international co-production, not small films made with just Chilean funding,” says Constanza Arena, executive director of Chilean film-tv promotion board CinemaChile. She cites Florencia Larrea’s “My Tender Matador,” Macarena Lopez’s “La Felicidad,” Gabriela Sandoval’s “Jailbreak Pact” and Karina Jury’s “Vera de Verdad,” co-produced with Italy and selected for the Marché du Film’s Frontières genre showcase.
“The whole industry is evolving...
Films made by this ever-growing generation of female producers are “ever more robust, of a larger caliber, with big casts, and made in international co-production, not small films made with just Chilean funding,” says Constanza Arena, executive director of Chilean film-tv promotion board CinemaChile. She cites Florencia Larrea’s “My Tender Matador,” Macarena Lopez’s “La Felicidad,” Gabriela Sandoval’s “Jailbreak Pact” and Karina Jury’s “Vera de Verdad,” co-produced with Italy and selected for the Marché du Film’s Frontières genre showcase.
“The whole industry is evolving...
- 6/22/2020
- by Shalini Dore
- Variety Film + TV
A politically charged Berlin Film Festival was further enlivened on the third day of the European Film Market by a demonstration targeting Chilean armed forces.
On Saturday, the Martin Gropius Bau, the site of the Efm, saw a group of anonymous protestors unfurl a big banner from one of the market’s upper floors, with activists shouting out, “How can you celebrate Chile when Chile is killing its own people?”
The protests were in response to the festival throwing a large spotlight on Chilean cinema, drama series and documentaries as its Country in Focus this year.
Whether the protestors chose the right target, however, is another matter.
Many of the large delegation of Chilean cineasts and content creators in Berlin for the Focus are fellow protestors. After an official photo is taken Sunday morning of the whole of the Chilean delegation, members will stage their own personal demonstration with posters...
On Saturday, the Martin Gropius Bau, the site of the Efm, saw a group of anonymous protestors unfurl a big banner from one of the market’s upper floors, with activists shouting out, “How can you celebrate Chile when Chile is killing its own people?”
The protests were in response to the festival throwing a large spotlight on Chilean cinema, drama series and documentaries as its Country in Focus this year.
Whether the protestors chose the right target, however, is another matter.
Many of the large delegation of Chilean cineasts and content creators in Berlin for the Focus are fellow protestors. After an official photo is taken Sunday morning of the whole of the Chilean delegation, members will stage their own personal demonstration with posters...
- 2/22/2020
- by John Hopewell
- Variety Film + TV
For 25 years, from 1992’s “La Frontera” through 2017’s ”A Fantastic Woman,” a subsequent Oscar winner, the Berlinale has prized a rich trove of Chilean movies.
Now, in sync with industry change, Berlin will celebrate the country’s TV with a Chilean Series on the Rise showcase, part of its Country Focus.
“When I started at CinemaChile, one mandate was to achieve the same sense of a phenomenon for Chilean series that had happened in film,” says Constanza Arena, executive director.
Berlin lifts the curtain on early success. “TV is the future of content,” says Matías Cardone, producer of “Dignity,” as the showcase comes in as a Country Focus’ centerpiece.
The five series presented have won big prizes, struck high-profile deals and helped bow original series investment and marked a major strategic departure at some of the world’s most energetic drama series players.
Haunting vignettes of desaparecidos under Pinochet and...
Now, in sync with industry change, Berlin will celebrate the country’s TV with a Chilean Series on the Rise showcase, part of its Country Focus.
“When I started at CinemaChile, one mandate was to achieve the same sense of a phenomenon for Chilean series that had happened in film,” says Constanza Arena, executive director.
Berlin lifts the curtain on early success. “TV is the future of content,” says Matías Cardone, producer of “Dignity,” as the showcase comes in as a Country Focus’ centerpiece.
The five series presented have won big prizes, struck high-profile deals and helped bow original series investment and marked a major strategic departure at some of the world’s most energetic drama series players.
Haunting vignettes of desaparecidos under Pinochet and...
- 2/20/2020
- by John Hopewell
- Variety Film + TV
Pamplona, Spain — In an early and memorable dramatic beat in “Invisible Heroes,” a Original Series of Finnish broadcaster Yle, in partnership with Chilean network Chilevision, the former head of international trade under Chile’s Salvador Allende clambers over the garden wall of the chalet of a Finnish diplomat to seek asylum after Augusto Pinochet’s bloody 1973 military coup.
Suitcase in hand, he looses his footing,, and falls straight into Tapani Brotherus’ swimming pool.
Much admired at MipTV by those who caught it, “Invisible Heroes” opened to warm applause on Monday night at Conecta Fiction, the world’s foremost Europe-Latin America TV co-production forum, which runs June.17-20 in Pamplona, Northern Spain.
Chile is one of Conecta Fiction’s two 2019 countries in focus. If the quality on paper of some of its projects is born out by their pitches, in public events or one-to-one meetings, it will also be one of its stars.
Suitcase in hand, he looses his footing,, and falls straight into Tapani Brotherus’ swimming pool.
Much admired at MipTV by those who caught it, “Invisible Heroes” opened to warm applause on Monday night at Conecta Fiction, the world’s foremost Europe-Latin America TV co-production forum, which runs June.17-20 in Pamplona, Northern Spain.
Chile is one of Conecta Fiction’s two 2019 countries in focus. If the quality on paper of some of its projects is born out by their pitches, in public events or one-to-one meetings, it will also be one of its stars.
- 6/18/2019
- by John Hopewell
- Variety Film + TV
2019 Cannes and the second half of the year catch Chile in the throes of huge change and a fairly exemplary evolution. Already, new paradigms seem fairly clear.
Chilean cinema is “director-driven, about different conversations” with audiences, says Fabula producer Juan de Dios Larraín.
Marking perhaps the two biggest Chilean titles set to bow over the second half of the year, Pablo Larraín’s “Ema,” with Gael Garcia Bernal, is a dance-spangled melodrama, about new contemporary family dynamics. “Araña,” sold at Cannes by Film Factory Ent. and from Andrés Wood, begins to trace the roots of a new nationalism from Augusto Pinochet’s dictatorship to the present.
That auteurist focus will remain, and, as the battle for success in an Ott world becomes a battle for talent, see Chile reach out to premium auteurs outside the country. One case in point: Argentine cineast Lucía Puenzo (“The German Doctor”), recruited by Fabula...
Chilean cinema is “director-driven, about different conversations” with audiences, says Fabula producer Juan de Dios Larraín.
Marking perhaps the two biggest Chilean titles set to bow over the second half of the year, Pablo Larraín’s “Ema,” with Gael Garcia Bernal, is a dance-spangled melodrama, about new contemporary family dynamics. “Araña,” sold at Cannes by Film Factory Ent. and from Andrés Wood, begins to trace the roots of a new nationalism from Augusto Pinochet’s dictatorship to the present.
That auteurist focus will remain, and, as the battle for success in an Ott world becomes a battle for talent, see Chile reach out to premium auteurs outside the country. One case in point: Argentine cineast Lucía Puenzo (“The German Doctor”), recruited by Fabula...
- 5/17/2019
- by John Hopewell
- Variety Film + TV
Chile will be one of the two countries in focus at Spain’s 3rd Conecta Fiction, a highly popular co-production and networking meeting, and pioneer in building bridges between the European and American TV drama industries.
Officially announced Tuesday at the European Film Market in Berlin, Chile’s choice highlights the growing relevance of Chilean TV, which is a burgeoning production force in Latin American fast expanding TV fiction landscape.
Conecta Fiction has moved for its 3rd edition to the Navarre city of Pamplona, after two years in Galicia’s Santiago de Compostela.
Two highlights at Conecta Fiction, the Pitch Copro Series dedicated to international co-production TV series or miniseries projects, and the Pitch Digiseries, for short-format fictions, will open their call for entries on Feb. 21.
Conecta Fiction’s Focus sidebar throws a light on two countries, one from each continent, to help international attendees identify new TV business opportunities in their markets.
Officially announced Tuesday at the European Film Market in Berlin, Chile’s choice highlights the growing relevance of Chilean TV, which is a burgeoning production force in Latin American fast expanding TV fiction landscape.
Conecta Fiction has moved for its 3rd edition to the Navarre city of Pamplona, after two years in Galicia’s Santiago de Compostela.
Two highlights at Conecta Fiction, the Pitch Copro Series dedicated to international co-production TV series or miniseries projects, and the Pitch Digiseries, for short-format fictions, will open their call for entries on Feb. 21.
Conecta Fiction’s Focus sidebar throws a light on two countries, one from each continent, to help international attendees identify new TV business opportunities in their markets.
- 2/13/2019
- by Emiliano De Pablos
- Variety Film + TV
The extraordinary success of Chilean filmmakers will be celebrated in the 2019 Week of Chilean Cinema, which launches in Madrid, then travels to Paris and Berlin. The week offers a larger narrative: the Chileans have won more awards, festival acclaim and global box office in the past decade than any other filmmaking industry in all of Latin America.
Backed by Pablo and Juan de Dios Larraín, Sebastián Lelio and a who’s who of Chilean cineasts who will conduct Q&As after screenings, the Week also celebrates 10 years of CinemaChile, the producer-backed international film-tv promotion org.
Titles will play May 30-June 2 at Madrid’s Golem Cinema arthouse over, then June 5-9 at Cinematheque Française and finally June 19-23 at Berlin’s Babylon Kino, another iconic arthouse. A fourth strand will unspool in a “surprise” city, says CinemaChile executive director Constanza Arena.
Chosen by programmers at the Sundance, Tribeca and Toronto festivals among others,...
Backed by Pablo and Juan de Dios Larraín, Sebastián Lelio and a who’s who of Chilean cineasts who will conduct Q&As after screenings, the Week also celebrates 10 years of CinemaChile, the producer-backed international film-tv promotion org.
Titles will play May 30-June 2 at Madrid’s Golem Cinema arthouse over, then June 5-9 at Cinematheque Française and finally June 19-23 at Berlin’s Babylon Kino, another iconic arthouse. A fourth strand will unspool in a “surprise” city, says CinemaChile executive director Constanza Arena.
Chosen by programmers at the Sundance, Tribeca and Toronto festivals among others,...
- 2/10/2019
- by John Hopewell
- Variety Film + TV
Santiago De Chile – When Dominga Sotomayor won an unprecedented best director prize at Switzerland’s Locarno Festival for her coming-of-age drama “Too Late to Die Young,” a big cheer resounded throughout the Chilean film industry.
As the first female director to receive Locarno’s Leopard for Best Direction, Sotomayor represents a growing surge of female talent – both creative and executive – behind the camera in Chile.
Constanza Arena, executive director of Chilean audiovisual promotion org CinemaChile, noted: “I remember that eight years ago, as the head of CinemaChile, the only producers I’d meet with were male.” “Nowadays, I’ve seen a greater parity, especially among the younger professionals aged between 20 and 35 years,” she added.
In CinemaChile’s film catalogue, Arena noted that 20 titles were directed by women, of which eight were fiction and 12 documentary, listing other female directors like Marcela Said, Claudia Huaiquimilla, Marialy Rivas and Maite Alberdi “who have...
As the first female director to receive Locarno’s Leopard for Best Direction, Sotomayor represents a growing surge of female talent – both creative and executive – behind the camera in Chile.
Constanza Arena, executive director of Chilean audiovisual promotion org CinemaChile, noted: “I remember that eight years ago, as the head of CinemaChile, the only producers I’d meet with were male.” “Nowadays, I’ve seen a greater parity, especially among the younger professionals aged between 20 and 35 years,” she added.
In CinemaChile’s film catalogue, Arena noted that 20 titles were directed by women, of which eight were fiction and 12 documentary, listing other female directors like Marcela Said, Claudia Huaiquimilla, Marialy Rivas and Maite Alberdi “who have...
- 8/22/2018
- by Anna Marie de la Fuente
- Variety Film + TV
“I’m on Jupiter,” director Sebastian Lelio said in March minutes after winning a best foreign-language film Oscar, Chile’s first-ever, for “A Fantastic Woman.”
Two months later, Lelio was back to earth, doing press for the U.S. premiere of “Disobedience” at the Tribeca Film Festival. The Oscar effect, however, continued to play out for Lelio, producers Pablo and Juan de Dios Larrain at Chile’s Fabula, and the Chilean industry at large.
The Academy Award continues to deliver a powerful lift to Chile’s entertainment industry — especially for independent filmmakers and an international film industry.
“The main change has been with amount of attention paid to anything that the team which made ‘A Fantastic Woman’ is now doing,” says Lelio, adding: “This interest could make it slightly easier to make things happen,” whether financing or other forms of project implementation.
The win for “A Fantastic Woman” may have...
Two months later, Lelio was back to earth, doing press for the U.S. premiere of “Disobedience” at the Tribeca Film Festival. The Oscar effect, however, continued to play out for Lelio, producers Pablo and Juan de Dios Larrain at Chile’s Fabula, and the Chilean industry at large.
The Academy Award continues to deliver a powerful lift to Chile’s entertainment industry — especially for independent filmmakers and an international film industry.
“The main change has been with amount of attention paid to anything that the team which made ‘A Fantastic Woman’ is now doing,” says Lelio, adding: “This interest could make it slightly easier to make things happen,” whether financing or other forms of project implementation.
The win for “A Fantastic Woman” may have...
- 5/12/2018
- by John Hopewell
- Variety Film + TV
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