As Chile boasts a milestone presence in Cannes this 12 months with new or consolidating firms main the cost — together with Domingo Sotomayor’s drama a few girl adopting a stray canine, “La Perra,” and Lisandro Alonso’s “Double Freedom” (“La libertad doble”) each competing in Administrators’ Fortnight — listed here are 10 Chilean titles to trace at this 12 months’s Pageant.
“A Woman Wants to Die” (“Una mujer quiere morir”), Constanza Figari, Chile, Argentina, Brazil
Niña Niño Films, led by Roberto Doveris, developed this Chile-led co-production, mixing black comedy and drama. The undertaking displays a robust auteur and LGBTQ+ aligned slate referring to taboo topics. “I began writing this script when I was still connected to the fantasy of wanting to die,” says filmmaker Figari.
“Artifacts of War” (“Artefactos de Guerra”), Jorge Caballero, Spain, Chile
From Santiago-based Cangrejo Movies with Spain’s Artefacto Movies, documentary explores world “less-lethal” weapons markets by way of investigative nonfiction and algorithmic techniques. Positioned for CannesDocs’ Spanish Showcase, it displays demand for politically pressing, formally experimental documentary work centered on techniques of management and fashionable battle economies.
“Cops and Robbers” (“Policías y Ladrones”), Bernardo Quesney, Chile, Uruguay
Santiago-based Equeco developed this coming-of-age function set in 1998, which explores childhood, grief and household secrets and techniques. Recognized for “Denominación de Origen” and “History & Geography,” the corporate is strengthening its worldwide co-productions. “It expands our creative and global reach,” says helmer Quesney of the story that frames a baby’s journey by way of private and political reminiscence.
“Dæmon,” Valeria Hofmann, Chile, Spain
From Chile’s Maquina and Spain’s Amore Cine, this debut function follows Hofmann’s Sundance-winning quick “AliEN0089.” A body-horror techno-romance, “Daemon” explores artificial intimacy and digital want. Chosen for the Berlinale Co-Manufacturing Market 2025 and residency program Ikusmira Berriak, it provides to Chile’s rising style slate, asking: “In a world where you can print DNA, why not print your own boyfriend?”
“The Case of the Boy Who Lost His Heart” (“El caso de un niño que perdió el corazón”), Diego Céspedes, Chile
Santiago and Los Angeles–based mostly Quijote Films are behind this early-stage function following the shingles’ festival-acclaimed titles “The Mysterious Gaze of the Flamingo” and “The Blue Trail.”
“The Flames of a Thousand Fires” (“El fuego de mil fogatas”), Diego Breit, Chile
Oro Movies backs this coming-of-age function, which is in superior improvement. The director reframes masculinity by way of cruelty and peer dynamics slightly than sexual awakening. “I want to explore what it means to become a man,” says helmer Breit, positioning the undertaking inside daring Latin American auteur-driven pageant cinema targeted on id formation.
“Kalkutún: Trial of the Witches” (“Kalkutún, Juicio a los Brujos”), Jorge Olguín, Chile
Olguín Movies, with TVN and Evolution, continues its style slate with this folk-horror function impressed by Chiloé’s historic witch trials. Mixing institutional historical past and ancestral ritual tradition, it makes use of sensible results and actual areas. In publish.
“Love Is the Monster” (“Amor es el Monstruo”), Neto Villalobos, Costa Rica, Chile, Peru, Panama, Mexico
Clara Movies, now Spain-based, leads this multi-country co-production starring Paulina García. Recognized for “Winter Howl” and “What Was Not Said,” the corporate is increasing its Latin American community. Through a portrait of tropical dystopia, Villalobos asks how far love can go when threatened by loss and violence.
Paulina Garcia in ‘Love is the Monster’
Paulina Garcia in ‘Love is the Monster’
Credit score: Nicolas Wong
“The Mailbox of the Impure” (“El Buzón de las Impuras”), Marialy Rivas, Chile
Ronda Cine is growing this early-stage undertaking as both collection or function, set in 1863 in the course of the Church of La Compañía hearth. It revisits institutional tragedy by way of a female-led narrative of resistance and abuse, Rivas, a Subdance winner for “Young & Wild,” frames this as historic reflection: “This forgotten tragedy allows us to question ourselves through history.”
“Nativity” (“Nacimiento”), Francisca Alegría, Chile
Quijote Movies develops this early-stage function following worldwide pageant success together with Cannes 2025 Un Sure Regard winner “The Mysterious Gaze of the Flamingo” and final 12 months’s Berlin Grand Jury Prize laureate “The Blue Trail.” The story explores disappearance, return and therapeutic in a supernatural register. Director Alegría describes it as an area between loss and non secular transformation in rural Chile.
