In 2019, the audiovisual community was more united and active than ever, creating an array of images of the social change underway in our country. This important context has coincided with the tenth anniversary of CinemaChile, a year in which we’ve been able to reflect on the importance that the voices of Chilean cinema have had during the last decade, and the persistent dialogue it maintains with the world at present. And as always, Chilean cinema and national series had an outstanding presence at the most relevant festivals, markets, and awards ceremonies around the globe!
Let’s review together the 10 milestones that were set for CinemaChile and the audiovisual sector in 2019:
10. THE WEEK OF CHILEAN CINEMA in 3 European Cities
We turned 10 and decided to celebrate in the only way that made sense to us: by continuing to expand Chilean cinema’s international presence and reach, creating ties with new audiences, circuits, and exhibition spaces. With this final goal in mind, we created the Week of Chilean Cinema, where 10 Chilean films, selected by 10 prestigious programmers were exhibited in 3 European capitals. We landed in Madrid, Paris, and Berlin, and in each city, we arrived with a different group of directors and actors that had starred in the films. Sebastián Lelio, Daniela Vega, Antonia Zegers, Alfredo Castro, Dominga Sotomayor, and Fernando Guzzoni were just some of the these potent talents who accompanied us, presenting their works and participating with the audience in Q&A sessions.
The 2019 edition of the Week of Chilean Cinema was just the first approach in building a direct bridge with international audiences outside the festival circuit, and we trust that this experience will allow us to continue to broaden the horizons of CinemaChile’s labor on a global scale. Get ready for THE WEEK OF CHILEAN CINEMA 2020!
9.The Nomination of “Spider” (Andrés Wood) to the GOYA AWARDS
Spider, directed by Andrés Wood, reflects on the dangers of fascism and a country that hasn’t healed its historical wounds. This new film by said prestigious director arrived at a precise moment and context. Its thematic relevance on a global scale, and a universal sensibility characteristic of Wood, managed to have a rich and extensive international run: it premiered at the Toronto Film Festival (Contemporary World Cinema), was screened at the San Sebastián Film Festival (Latin Horizons), and in December, the announcement came that it was nominated for Best Ibero-American Film at the Goya Awards. Whether or not it wins, 2019 will always remain the year in which Wood returned to the big screen, his previous film having been Violeta Went to Heaven in 2011. Wood’s films always come to stir the contingency and open our minds. On January 25 in Málaga, we’ll know whether Andrés Wood will once again bring home a Goya. GOOD LUCK!
8.Chile’s historic presence at the 2019 VENICE FILM FESTIVAL:
In general, 2019 was a big year for Chilean cinema in the festival circuit, but its presence at the Venice Film Festival was entirely unprecedented, a historic event that fills us with pride and demonstrates to the world the diverse talent that exists in our country. Both established filmmakers and new voices marked this presence, where Chile participated in every single one of the event’s sections. We arrived with Ema by Pablo Larraín in the Official Competition (ARCA and Unimed Awards), The Prince by Sebastián Muñóz in Critics’ Week (Queer Lion Award and FIPRESCI Award, as well as the Starlight International Cinema Award for Alfredo Castro), White on White by Theo Court in Orizzonti (Silver Lion for Best Director), and the short film Austral Fever by Thomas Woodroffe in Orizzonti. Not only did we end our days at the festival with the joy of having had the largest Chilean delegation and presence in the history of the Venice Film Festival, but we also left with 6 awards for our talented filmmakers, including BEST DIRECTOR for Theo Court.
7.Chilean SERIES shined in the world
This year, Chilean series stood out for their effervescence, opening new doors and exhibition spaces. Chile shined with three international mega-productions for export: “Invisible Heroes” (PAROX), “Dignidad” (INVERCINE & WOOD), and “The Pack” (FÁBULA), in addition to many other projects that participated in our TV Catalogue.
We also saw how the world began to recognize Chile’s enormous growth in the TV series sphere: in June, Chile was invited as the Latin American Spotlight country at the TV Conecta Fiction market. This networking space between Europe and Latin America is the most important in Spain, and Chile was present with a large delegation. CinemaChileTV continued to explore new territories for our television productions in November, attending MIPCancun for the first time, an expansive market with many possibilities for international co-production.
6.The nomination of the ANIMATION series “Petit” (Bernardita Ojeda) to the International Emmy Kids Awards 2020
The effervescence of Chilean television wasn’t only experienced in fiction series, but also in ANIMATION. The children’s series Petit, directed by the talented Bernardita Ojeda, was nominated for a 2020 International Emmy Kids Award in the preschool category, competing with series from Germany, Australia, and South Korea.
Petit encourages kids’ imaginations in a world that increasingly represses play and creativity, and tells the story of a 5-year-old boy who interprets everything in his own way. This original project has accumulated numerous awards and nominations in the most important international festivals (Quirino Awards in Spain, Latin American Prix Jeneusse at Annecy), and continues on his way to the Emmys in 2020! Here’s to success for PETIT!
5.Chile as the GUEST COUNTRY OF HONOR AT FICG 34
The close relationship between Chile and Mexico continued to deepen at one of the most important international events of the year for us: Chile was the country of honor at the 2019 Guadalajara Film Festival. This invitation was an honor and recognition for the entire national industry, and more than 100 Chileans were in Guadalajara to put a face to the Chilean audiovisual industry. Eighty films were exhibited in different areas of the event, between the festival’s official selections, the showing of contemporary Chilean cinema, and the showing of Chilean film heritage. During the same day of the festival, audiences even had the possibility to watch Chilean films made more than 50 years apart. Not to mention that Chile was also present in the different sections of the market as well as having participants in the Jury, national guest musicians, and stand-out networking events, creating a well rounded, deep, and warm cultural experience.
May the ties between Latin America film spheres continue to grow!
4.A big festival year for Chilean cinema
We don’t need anymore words; the titles and their trajectories say it all. Please be patient as, with pride for our talented colleagues, we highlight the 2019 festival milestones:
-Four feature films in three shorts premiered in the official competitions of important A-Class film festivals.
-Nona. If They Soak Me, I’ll Burn Them by Camila José Donoso (Official Competition at the Rotterdam Film Festival)
-The Man of the Future by Felipe Ríos (Official Competition in Karlovy Vary)
-Ema by Pablo Larraín (Official Competition in Venice)
-Death Will Come and Shall Have Your Eyes by José Luis Torres Leiva (Official Competition at San Sebastián)
-Héctor by Victoria Giesen (Berlinale Shorts)
-Austral Fever by Thomas Woodroffe (Orizzonti, Venice Film Festival)
-Here and Everywhere by Flavia Contreras (Visions du Reel)
Awards for Chilean Cinema in 2019
– Teddy Award, Lemebel by Joanne Reposi (Berlinale)
– Golden Eye, The Cordillera of Dreams by Patricio Guzmán (Cannes)
– Best Director, Some Beasts by Jorge Riquelme (San Sebastián Film Festival)
– International Competition Jury Prize, I Never Climbed the Provincia by Ignacio Agüero (Marseille Film Festival)
– Best Actress for Antonia Giesen (Karlovy Vary Film Festival)
– Nest Students Jury Special Mention, Austral Fever by Thomas Woodroffe (San Sebastián Film Festival)
– Ingmar Bergman Award, Austral Fever by Thomas Woodroffe (Uppsala International Short Film Festival)
– Jury Prize for Freedom Award, Matta Checks by Leo Contreras (The Fine Arts Film Festival)
– Best Screenplay for Sofía Paloma Gómez and Camilo Becerra for Trastornos del Sueño (Trieste Film Festival)
– Best Documentary, Zurita by Alejandra Carmona (Trieste Film Festival)
– Honorable Mention in the Bright Future Competition, Story of My Name by Karin Cuyul (Rotterdam Film Festival)
– Best Actor, Perro Bomba by Juan Cáceres (Málaga Film Festival)
– Audience Award, Perro Bomba by Juan Cáceres (Málaga Film Festival)
– Best Ibero-American Film, Perro Bomba by Juan Cáceres (Málaga Film Festival)
– International Starlight Cinema Award for Alfredo Castro (Venice Film Festival)
– Queer Lion Award, The Prince by Sebastián Muñóz (Venice Film Festival)
– Silver Lion for Best Director, White on White by Theo Court (Venice Film Festival)
– FIPRESCI, White on White by Theo Court (Venice Film Festival)
– Arca Award, Ema by Pablo Larraín (Venice Film Festival)
– Unimed Award, Ema by Pablo Larraín (Venice Film Festival)
3.Building Bridges with ASIA: Chile’s Historic Presence in BUSAN.
Since 2016, we’ve been building a bridge with Asia at a very relevant market: TIFFCOM in Tokyo, Japan. During 3 consecutive years, we’ve attended this market with a delegation of producers and carried out a labor of approach and understanding the Asian industry, finding a possible space for Chile in this territory. There, we met the programmers of the Busan Film Festival in South Korea. This year, we were able to see the benefits of that bridge in Chilean cinema’s historic presence in Busan with four films selected: Ema by Pablo Larraín, The Prince by Sebastián Muñóz, The Cordillera of Dreams by Patricio Guzmán, and White on White by Theo Court. Thus, we traveled to Busan to support the filmmakers in attendance and to highlight this precedent, which helps us to continue opening doors to possibilities for our talented colleagues, not only through the Festival, but also in the ASIAN FILM MARKET, which we will officially attend in 2020. Plane to Busan for CinemaChile!
2.UNITED, THE AUDIOVISUAL COMMUNITY CONSTRUCTED POWERFUL NARRATIVES ABOUT THE SOCIAL AWAKENING
In 2019, the audiovisual community was more united than ever, building the most powerful narratives about social change since the return to democracy. With the social unrest that began on October 18th, there has been a greater sense of solidarity, and a variety of audiovisual collectives have arisen to record the events and their protagonists. Groups such as “OjoChile”, “Canalcito TV”, “Nosotras Audiovisualistas”, “Proyecto A.M.A.”, and “Colectivo Sabotaje” worked with the aim of building a collective archive of the social phenomenon, independently from communications media, which have been highly questioned. Thus, Chile is in the process of creating the web of images of a historic development, and the world is watching attentively and expectantly.
1.COMING SOON! Chile as Country in Focus EFM 2020 (Berlinale)
In May during the Cannes Film Festival, we announced big news that has been in the works between institutions for years: Chile will be the Country in Focus of EFM in February, 2020! This great platform will present our talents and their projects in an array of instances at the market, opening opportunities for creators and producers; a mosaic of possibilities for the national industry!
CinemaChile, as well as the Ministry of Culture, the Arts and Heritage, and ProChile, among other entities in our country, are working in conjunction with EFM to arrive with a massive Chilean delegation, to ensure that the entire sector can shine and to create new opportunities that will change future Chilean productions. It’s coming!