The short film “Merrimundi” will compete in the prestigious Orizzonti section of the Biennale di Venezia, while a delegation of more than 20 Chilean producers will take part in the Venice Gap Financing Market 2025. All of this comes with the support of the Ministry of Cultures, Arts and Heritage, which this year succeeded in positioning Chile as one of the three spotlight countries within the industry.

Chilean cinema has enjoyed a brilliant 2025. With just over half the year gone, it has already confirmed its growing visibility and leadership: not only through selections but also with significant awards at the Berlinale (with “The Deepest Blue”), in Cannes (with “The Mysterious Gaze of the Flamingo”), and in Guadalajara (with “Patio de Chacales” and “Cuerpo Celeste”). It has been a year in which Chilean productions have made waves thanks to their boldness, diversity, and narrative depth. And Venice, which has just kicked off, will be no exception. Between August 27 and September 6, more than 20 Chilean producers will arrive at the 82nd edition of the Venice International Film Festival and the Venice Production Bridge – Gap Financing Market, one of Europe’s most important co-production platforms.

This year, particular attention is on the short film “Merrimundi”, directed by Niles Atallah and produced by Pista B, Diluvio, and Fósfora. The film competes in the Orizzonti section, one of the most prestigious within the official selection of the festival. It is a 21-minute animated musical, a distorted vision of paradise brought to life by a machine from the future.

For Alexandra Galvis, co-director of CinemaChile —the agency for the international promotion of Chilean cinema—, 2025 has been a year of remarkable harvest. Not only have there been selections, but also awards at every class-A festival and in significant cinematic gatherings across different regions of the world. Co-productions have also set the tone, enabling Chile to be present in the awards ceremonies of each key event on the international film calendar in 2025.

“For the Chilean Association of Film and Television Producers and ProChile, the institutions behind this sector brand, 2025 has brought a record milestone: Chile has received awards at every major film event this year. And this is no coincidence. We are talking about a strategically important industry with a long-term plan. It is not only about producing in Chile and for the country, but also about seeking opportunities to co-produce stories from around the world, where Chile can also showcase its creative talent,” Galvis emphasized.

Strong Chilean presence at the Venice Gap Financing Market

Running alongside the festival, the Venice Gap Financing Market is one of the most influential co-production and film financing events on the European circuit. Here, Chilean producers will have the opportunity to present their ideas, projects, or films to potential strategic partners: distributors, sales agents, and companies interested in investing in their productions. In this regard, the Head of the Creative Economies Department at ProChile, Raúl Vilches, stated: “Between January and July 2025, Chile’s creative industries exported US$70 million, a 35% increase compared to the same period last year. The leading exports driving the creative ecosystem are animation services and audiovisual services, with US$29 million and US$26 million, respectively. In this context, Venice and its market are a strategic showcase to position our audiovisual industry within global networks of co-production, distribution, and financing. Chilean cinema offers unique stories that resonate with today’s major discussions, and our role is to support these production companies in finding the right partners and platforms.”

The event admits only projects that have reached a specific stage of development —at least 80% of their investment confirmed and strong artistic potential— making it especially relevant that Chile has secured the selection of four feature-length projects this year.

Among them are “Patas de Perro”, directed by Matías Rojas, a fantasy thriller co-produced with Colombia and Germany; “People Still Die of Love”, a dystopian drama by Fernando Guzzoni, a co-production between Chile, Mexico, and Italy; and “Morir de Pie” by María Paz González, blending drama and comedy in a reflection on the loss of emotions and “Drifting Images”, an autobiographical essay by Nicolás Tabilo that weaves together cinema, memory, and queer narratives. Joining them is “Corte Culebra”, by Ana Elena Tejera, a co-production between Panama, France, and Chile.

Since its first edition in 1932, the Venice Film Festival has established itself as a beacon in the history of world cinema. Now, in its 82nd edition, it once again opens its doors to emerging and established voices alike, with Chile arriving with a remarkable selection of projects well positioned to secure completion and international reach.

On September 6, the Venice International Film Festival will come to a close, with Chile competing with an exceptional short film and nearly a dozen projects, reaffirming its current leadership among the very best in global cinema.