Chile has had a groundbreaking presence at Cannes this year, with start-ups and integrated companies leading the way, including Domingo Sotomayor’s drama La Pera, about a woman who adopts a stray dog, and Lisandro Alonso’s Double Freedom (La Libertad d’Obre), which was screened at Directors’ Fortnight.Here are 10 Chilean titles to watch at this year’s Cannes Film Festival.
“A Woman Wants to Die” (“Una mujer quiere morir”), Constanza Figari, Chile, Argentina, Brazil
Niña Niño Films, led by Roberto Dobellis, developed this Chilean-led co-production that combines black comedy and drama. This project reflects powerful writers and LGBTQ+-aligned positions that touch on taboo subjects. “I started writing this script when I was still in the fantasy of dying,” says filmmaker Figari.
“Artifacts of War” (“Artefactos de Guerra”), Jorge Caballero, Spain, Chile
Produced by Santiago-based Cangrejo Films and Spain’s Artefacto Films, the documentary examines the global “less-lethal” weapons market through investigative nonfiction and algorithmic systems. Positioned for CannesDocs’ Spanish language showcase, this work reflects the demand for politically urgent and formally experimental documentary work centered on administrative systems and contemporary conflict economies.
“Cops and Robbers” (“Policías y Ladrones”), Bernardo Kesny, Chile, Uruguay
Santiago-based Ekeko developed this adult feature set in 1998, which explores childhood, grief, and family secrets. The company, known for its “Origin Theory” and “History and Geography,” is stepping up its international co-productions. “This expands our creative and global reach,” says Helmer Kesney of this story about a child’s journey through personal and political memory.
“Dæmon”, Valeria Hoffmann, Chile, Spain
This debut feature by Chile’s Machina and Spain’s Amore Cine follows Hoffman’s Sundance Prize-winning short story “AliEN0089.” Body-horror techno-romance “Daemon” explores artificial intimacy and digital desire. Selected for the Berlinale Co-Creation Market 2025 and Residency Program Ixmira Beliak, this work fuels the rise of the Chilean genre and asks: “In a world where you can print your DNA, why not print your own boyfriend?”
“The Case of the Boy Who Lost His Mind” (“El casa de un niño que perdió el corazón”), Diego Céspedes, Chile
Santiago and Los Angeles-based Quixote Films produced this early-stage feature film, following up on singles festival-acclaimed titles “The Mysterious Gaze of the Flamingo” and “Blue Trail.”
“The Flame of a Thousand Fires” (“El fuego de mil folkatas”), Diego Bright, Chile
Oro Films is backing this coming-of-age film, which is currently in development. The director reconstructs masculinity through brutality and peer dynamics rather than sexual awakening. “We want to explore what it means to be a man,” says Helmer Bright, positioning the project among bold Latin American auteur-driven festival films focused on identity formation.
“Kalkutún: Trial of the Witches” (“Kalkutún, Juicio a los Brujos”), Jorge Holguín, Chile
Holguin Films, in collaboration with TVN and Evolution, continues its genre trajectory with this folk horror feature inspired by the historical witch trials of Chiloé. It blends institutional history and ancestral ritual culture, using practical effects and real locations. It’s in the post.
“Love Is the Monster” (“Amor es el Monstruo”), Neto Villalobos, Costa Rica, Chile, Peru, Panama, Mexico
Clara Films, currently based in Spain, is leading this multi-country co-production starring Paulina García. The company known for “Winter Howl” and “What Was Not Said” is expanding its Latin American network. Through a portrait of a tropical dystopia, Villalobos asks how far love can go when threatened by loss and violence.
Paulina Garcia “Love is the Monster”
Paulina Garcia in “Love is the Monster” Credit: Nicolas Wong
“The Mailbox of the Impure” (“El Buzón de las Impuras”), Marialie Rivas, Chile
Rhonda Cine is developing this early-stage project, set in 1863 during the La Compagna church fire, as a series or feature. The film reimagines institutional tragedy through a female-led story of resistance and abuse, and Rivas, who won a Subdance Award for Young & Wild, frames it as a reflection on history, saying, “This forgotten tragedy allows us to interrogate ourselves through history.”
“The Nativity” (“Nacimiento”), Francisca Alegría, Chile
Quixote Films is developing this early-stage feature following international film festival successes such as Cannes 2025 Un Certain Regard winner The Flamingo and last year’s Berlinale Grand Jury Prize winner Blue Trail. This story explores disappearance, return, and healing in the supernatural realm. Director Alegria presents the film as a space between loss and spiritual transformation in the Chilean countryside.
