As Chile boasts a milestone presence in Cannes this year with new or consolidating companies leading the charge — including Domingo Sotomayor’s drama about a woman adopting a stray dog, “La Perra,” and Lisandro Alonso’s “Double Freedom” (“La libertad doble”) both competing in Directors’ Fortnight — here are 10 Chilean titles to track at this year’s Festival.
“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, blending black comedy and drama. The project reflects a strong auteur and LGBTQ+ aligned slate touching on taboo subjects. “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 Films with Spain’s Artefacto Films, documentary explores global “less-lethal” weapons markets through investigative nonfiction and algorithmic systems. Positioned for CannesDocs’ Spanish Showcase, it reflects demand for politically urgent, formally experimental documentary work centered on systems of control and modern conflict economies.
“Cops and Robbers” (“Policías y Ladrones”), Bernardo Quesney, Chile, Uruguay
Santiago-based Equeco developed this coming-of-age feature set in 1998, which explores childhood, grief and family secrets. Known for “Denominación de Origen” and “History & Geography,” the company is strengthening its international co-productions. “It expands our creative and global reach,” says helmer Quesney of the story that frames a child’s journey through personal and political memory.
“Dæmon,” Valeria Hofmann, Chile, Spain
From Chile’s Maquina and Spain’s Amore Cine, this debut feature follows Hofmann’s Sundance-winning short “AliEN0089.” A body-horror techno-romance, “Daemon” explores synthetic intimacy and digital desire. Selected for the Berlinale Co-Production Market 2025 and residency program Ikusmira Berriak, it adds to Chile’s rising genre 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 Quijote Films are behind this early-stage feature 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 Films backs this coming-of-age feature, which is in advanced development. The director reframes masculinity through cruelty and peer dynamics rather than sexual awakening. “I want to explore what it means to become a man,” says helmer Breit, positioning the project within bold Latin American auteur-driven festival cinema focused on identity formation.
“Kalkutún: Trial of the Witches” (“Kalkutún, Juicio a los Brujos”), Jorge Olguín, Chile
Olguín Films, with TVN and Evolution, continues its genre slate with this folk-horror feature inspired by Chiloé’s historical witch trials. Blending institutional history and ancestral ritual culture, it uses practical effects and real locations. In post.
“Love Is the Monster” (“Amor es el Monstruo”), Neto Villalobos, Costa Rica, Chile, Peru, Panama, Mexico
Clara Films, now Spain-based, leads this multi-country co-production starring Paulina García. Known for “Winter Howl” and “What Was Not Said,” the company is expanding its Latin American network. Via 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: Nicolas Wong
“The Mailbox of the Impure” (“El Buzón de las Impuras”), Marialy Rivas, Chile
Ronda Cine is developing this early-stage project as either series or feature, set in 1863 during the Church of La Compañía fire. It revisits institutional tragedy through a female-led narrative of resistance and abuse, Rivas, a Subdance winner for “Young & Wild,” frames this as historical reflection: “This forgotten tragedy allows us to question ourselves through history.”
“Nativity” (“Nacimiento”), Francisca Alegría, Chile
Quijote Films develops this early-stage feature following international festival success including Cannes 2025 Un Certain Regard winner “The Mysterious Gaze of the Flamingo” and last year’s Berlin Grand Jury Prize laureate “The Blue Trail.” The story explores disappearance, return and healing in a supernatural register. Director Alegría describes it as a space between loss and spiritual transformation in rural Chile.
