Much larger than its size (population 19.7 million), Chile continues to hold its own against the major powers in Latin America, with a presence on par with Mexico and Brazil. This year, Chile will submit three films and three series to the Berlin Film Festival, led by Prime Video’s ambitious eight-episode family saga “House of the Spirits,” and will also participate in various EFM projects.
“I believe this is the most important, if not the biggest, Chilean presence that we have ever had. Of course, there have been such occasions before, for example when Gloria was shown and won major awards, and also with other films,” says Diego Rouge, the new president of APCT, the Chilean Association of Film and Television Producers.
Leading the film troika is Netflix’s A Child of My Own, a documentary/fiction hybrid shot in Mexico by two-time Oscar nominee Maite Alberdi (The Mall Agent, Eternal Memory). She told Variety about her experience: “It was great because this industry is huge and the specificity is similar to that in Chile.”
Ana Celeste Montalvo as Alejandra in “A Child of My Own” Provided by: Netflix / Netflix ©2026
Provided by Netflix / 2026
Joining the Berlinale Perspective sidebar is documentarian Juan Pablo Salato’s feature debut, The Red Hangar (Hangar Rojo). A co-production involving Chile’s Villano Prods., Argentina’s Brava Cine and HD Argentina, as well as Italy’s Rain Dogs, Berta Films and Caravan, it is a testament to Chile’s savvy co-production capabilities.
“Red Hangar”, courtesy of Villano Prods.
Considering the size of Chile’s market, Chile has been engaged in joint production for many years. “I believe that we have reached a level of maturity in the way we carry out projects. We have demonstrated seriousness, responsibility and talent, which has opened the door to trust. I believe that co-production is fundamentally about trust. Once you enter the market, you meet producers and We started developing the project together and the relationship grows over time. Trust is the driving force behind these works, and I believe that Chile has shown itself to be a serious and reliable partner in the collaboration.
The third picture, “Matapanqui,” by recent college graduate Diego Fuentes, also marks his feature debut and was funded through a combination of university funding, various crowdfunding platforms, and events that fit the film’s punk spirit, such as live shows and self-managed activities, said producer Tomas Santelis.
“Matapanki” provided by: Minerva Pictures
“We shot with a Canon C300 and designed a workflow that allowed us to ‘smudge’ the digital images while applying VFX. We aimed for a grainy black and white look, similar to a photocopy. This was refined with careful hands-on rotoscoping to achieve the film’s intended aesthetic.”
“Our market is so small that we rely on a lot of ingenuity and creativity to keep producing,” commented Rougier, adding, “The truth is that we are always looking, we are always looking for more and better tax incentives like what other countries are doing. We are always striving to achieve better conditions and in the meantime we rely heavily on creativity and productivity.”
He says the best tool for Chilean co-productions is the IFI audiovisual program, which is ideal for productions with significant foreign investment in Chile. “This is a type of cash rebate, and although it is not a direct cash rebate, it works on a similar mechanism. The important point is that if foreign funding is involved, all production costs may be subject to the rebate,” he explains. For on-location shoots in the metropolitan area or metropolitan area, you can claim a 30% reimbursement of local expenses, and for on-location shoots in other regions, you can claim a 40% reimbursement.
After several failed attempts, the country finally launched a film commission in December, now headed by coordinator Yerco Martínez Carrer. “Chile’s co-production experience, combined with its stunning locations and highly skilled technical staff, from the desert to the snow, the sea and the forests, to the regions of Araucania and Patagonia, make it an ideal country for large-scale film production. This is a great opportunity to launch a film commission and attract not only local projects, but also international production companies to shoot here,” Rouget points out.
“We have a strong industry, but that is not enough. We need to continue to grow if we are to remain competitive and get the recognition that Chilean audiovisual work deserves. Step by step, the work we are creating speaks for itself and paves the way for what comes next.”
