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 th…
’s audiovisual industry. When Gabriel Boric, Chile’s youngest 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.
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” was shortlisted for international feature and nominated for documentary.
“For every peso that the state has invested in our cinema, the sector has managed to raise 3,” Arena says. “The investment made by the state is tripled in the hands of the sector due to financing that comes mainly from abroad and from private investors.” Nasi will be seeking at Berlin financing partners for LGBTQ+-themed project “La Misteriosa Mirada del Flamenco,” the feature debut of Diego Céspedes who won Cannes’ 2019 Cinefondation with “The Summer of the Electric Lion.”
TV support for local cinema has also been paltry, with some occasional pickups of mainstream or high-profile films including “The Mole Agent.” Thanks to the Ibermedia fund and other support mechanisms as well as partnerships with producers and sales agencies from France, Germany and Spain, among others, Chilean cinema has continued to thrive. Its film industry only has bilateral pacts with Argentina and Venezuela at present; however, Argentina’s perpetual economic crisis has delayed the disbursement of funds, and the devaluation of the Argentine peso makes it a weak partner at the moment. Venezuela is even worse off.
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