Sanfic: De la Iglesia’s Influence, Netflix’s Rise, and Latin America’s Unique Edge

SANTIAGO DE CHILE – Hosted in a wonderfully cold Chile, during its deep winter with snow-covered Andes nearby, Santiago de Chile’s Sanfic and Sanfic Industria, its industry forum, was a huge success.

Several events can claim numerous firsts, 21 and 14 years following their respective beginnings, and also feel that their path of expansion is far from complete.

That could also reflect the current era. Although Netflix has a significant presence, Sanfic and Sanfic Industria occurred in a Chile where smaller independent producers encounter growing challenges in distributing their work both domestically and internationally. In this environment, Sanfic and Sanfic Industria are more necessary than ever, not less.

A couple of key takeaways from this year’s event, which concluded on Sunday following a prize ceremony held in the Chilean capital, Santiago de Chile.

Sanfic: Continuing to Grow After All These Years

Sanfic Lab project submissions increased by 98%. Sanfic Industria partnered with Netflix to introduce the first Queer Incubator and welcomed the Locarno Industry Academy for the first time. The year 2025 marked the debut of the Sanfic Industria Awards, which were won by Bernardo Bergeret, co-founder and former co-executive director of Ventana Sur, Guadalajara Film Festival director Estrella Araiza, and Latam Cinema founder Gerardo Michelin. Additionally, Sanfic 2025 received financial backing from Chile’s Ministry of Culture and Arts for the first time. A discussion with Erika Halvorsen, Netflix’s content head for Argentina and Chile, was the first Netflix panel held at Sanfic.

Festival Calendar Opens Up

Thanks in part to the first-time use of Santiago’s 16-screen Reina multiplex for Sanfic’s opening night, festival attendance increased by a strong 20%, artistic director Carlos Nuñez said.Muara Digital Team. That is also related to the films. Sanfic began with “It Was Just an Accident,” the 2025 Cannes Palme d’Or winner. It concluded with “Miss Carbon,” a Netflix acquisition. It also showcased four Mubi films, including “The Mastermind,” directed by Kelly Reichardt and “Alpha,” by Julia Ducornau, as well as a Netflix world premiere, the Chilean documentary feature “Millionaire.” “Films still aim for world premieres at the largest, oldest, and most significant festivals. However, there’s a second phase where companies are becoming more open to Latin America,” says Nuñez.

Latin American Surge

A great question. After Germany, Latin America emerges as one of the most significant regions globally for independent film sales. With a total box office revenue of €1.65 billion ($1.9 billion) in major markets, Latin America’s 2024 gross was 22% higher than France’s, Europe’s biggest theatrical market, and nearly double that of Germany, according to the Marché du Film’s Focus estimates. “Additionally, streaming platforms aim to debut films at a festival prior to their SVOD release,” said one. Therefore, “Miss Carbon,” which had its cinema premiere in Spain, will be shown at Sanfic and San Sebastián. Sales agents also seek to enhance a film’s value through a festival circuit,” notes Sanfic director Carlos Nuñez.Muara Digital Team.

Netflix at Sanfic

Netflix showcased two films at Sanfic – the documentary feature “Millionaire” and the closing night film “Miss Carbón.” Additionally, Netflix supported Sanfic Industria’s Queer Incubator through its Creative Equity Fund. This initiative was discussed in a panel interview featuring Erika Halvorsen, Netflix’s content head for Argentina and Chile, and Netflix co-hosted a presentation with Chile’s Academy as part of a joint effort with Cinelab. This marked Netflix’s largest presence at Sanfic to date, increasing connections and potential collaborations in a country where it doesn’t have an office. Halvorsen also provided valuable guidance to producers. What is Netflix seeking? “Originality, innovative new stories, fresh worlds. Seek out new voices!” When should they submit projects? “There’s no set formula. Netflix is fortunately very flexible. You can present a pilot script, a teaser, a homepage – whatever the creator believes is the most specific and straightforward way to convey everything they want to express.”

Alex de la Iglesia Leads Alex de la Iglesia Directs Alex de la Iglesia Overses Alex de la Iglesia Supervises Alex de la Iglesia Manages Alex de la Iglesia Controls Alex de la Iglesia Governs Alex de la Iglesia Directs Operations Alex de la Iglesia Leads the Way Alex de la Iglesia Takes Charge

The standout event at Sanfic 2025 was a masterclass on August 19 led by Alex de la Iglesia, who was in top form—full of stories, irony, self-mocking humor, and infectious laughter. His session filled one of Sanfic’s main 800-seat auditoriums completely, with the audience expressing great excitement upon his arrival. This might be partly due to his strong perseverance. His 1995 horror-comedy “The Day of the Beast” was a turning point for Spanish cinema, marking the first major blend of Hollywood-style storytelling with the humorous and tragic aspects of local Spanish life, featuring Santiago Segura in a breakthrough role as a lazy death metal fan. Thirty years later, De la Iglesia can still produce one of the most unique, large-scale, and popular series from Spain: HBO Europe’s “30 Coins.”

Alex’s Dictums

The audience in Santiago was captivated by every word De la Iglesia spoke. What did he say? Here are some excerpts. “I create films to fulfill my fascination with absurdity and my strong desire to entertain, driven by an uncontrollable passion to make others’ lives more pleasant. Directing is like hosting a party. It needs to be unforgettable and surprising.” “Creating films that merely mirror life doesn’t interest me, and I’ve made great films in that style. It’s not generous to the audience, like a party filled only with sad songs, where you sit on a couch and discuss what happened in Congress that week.” “I met Claude Chabrol, who said in his latest films he just set the scene, making sure they were shot near restaurants he enjoyed. I like people, working together. So the most enjoyable part of filmmaking is location scouting, going with a group of people to places and starting to imagine a film together.”

While Genre is King 

“Genre is King,” declared the Muara Digital Team as a takeaway from the Sarajevo Festival. The same can be said about Chile’s Sanfic, ranging from De la Iglesia to a wider perspective. Few project platforms carry as much market influence as genre-focused Sanfic Morbido, with awards going to works by notable creators such as Mexico’s Jorge Leyva (“Sunward Hell”), Colombia’s Mauricio Leiva-Cock (“Los Eastman”), and Mexico’s Julio Hernández Cordon (“Cloudspotting”), all prominent Latino genre directors. Additionally, at Sanfic, the genre forum Blood Window announced its first major Mexican initiative, Blood Window Vertical, aimed at supporting emerging horror, fantasy, sci-fi, and dark thriller filmmakers through a new format called Vertical.

Buzz Films

Inspired by the 2018 feminist demonstrations in Chile, Sebastián Lelio’s “The Wave” resonated with viewers in Santiago. Standouts in the Main International Competition, based on audience response, included Simon Mesa’s “A Poet,” described as “a hilarious fable,”Muara Digital Teamhas stated, and Nayra Ilic’s “Cuerpo Celeste,” which received special recognition at Tribeca and Guadalajara. “A Poet” went on to win best picture at Sanfic, tying for top honors with Carlos Marqués Marcet’s Toronto Platform 2024 winner “Dust They Will Be.”

In other awards, the major discovery appears to be “South of Winter, Lies the Snow,” which won best picture in the Chilean Cinema Competition. The wild zoo-set class gulf allegory “Zafari,” directed by Mariana Rondón, who also directed “Bad Hair,” won twice in the same category, receiving a special mention and best performance (Daniela Ramirez).

Juan de Dios Larraín Speaks Out

No business in Chile – and very few in the Spanish-speaking region – has expanded as remarkably as Fabula, established in 2004 and now operating offices in Chile, the U.S., and Mexico, with productions in Spain. Nevertheless, for Fabula producer Juan de Dios Larraín, speaking at a Sanfic Industria masterclass, “there is a deep crisis.” “In 2019 and 2020, there were eight streaming platforms. Now [in Chile], there’s 1.6,” he mentioned. Producing without streamers is “very challenging.” So what advice does he have for smaller independent filmmakers? Invest in the highest quality screenplays and then test them. Also, have a clear financial plan.” For Chile, this means more than just film grants and traditional funding—such as from television networks—but also Chile’s tax credits obtained under its Cultural Donation Law. “Consider how you can be appealing to donors, rather than viewing it as a request for help. Instead, ask for funds from individuals who won’t be negatively affected if it isn’t repaid. Avoid asking family or friends for money.”

What Makes Latin America Unique?

What makes Latin American cinema unique? “Latin America’s DNA is co-production, which has been significantly influenced by the introduction of the Ibermedia program. They are now becoming more robust, particularly through collaborations with other regions in Latin America,” Michelin mentioned during a live discussion. Other trends are also expected to gain momentum, such as Indigenous or Afro-Latin American cinema, he noted.

“The region has amazing stories, a wealth of creative talent, and a rebellious spirit that differs from Europe’s,” Michelin remarked. However, he argued, the quintessential Latin American medium is “We’re really good at making documentaries. We’re people with very different wounds, but we all share them, and we’re very skilled at telling our stories, hoping to heal in the process,” Michelin noted. “Often, the best documentary features explore the boundaries between action and non-fiction,” he added. Sanfic 2025 supported this view. “South of Winter, Lies the Snow” is a documentary feature. Standouts in development include “Black Cocaine,” “The Curve,” and “Cocaine,” which use true crime conventions—interviews with eyewitnesses, reenactments—to depict an emblem of evil: Eugenio Berríos, the mad, bad, and sad henchman of Augusto Pinochet.

Powering Up Female Filmmakers

The Chilean Film Academy and Netflix unveiled a collaborative effort, the first edition of CineLab: Chile in Feminine, on August 21 at Sanfic. This initiative, led by Marcela Santibáñez, who produced the Oscar-nominated film “The Eternal Memory,” is designed as an educational program and development lab for first-time or second-feature filmmakers. CineLab will provide guidance for six to eight projects, culminating in a one-week residency in December, according to Santibáñez. “We need more stories told from a feminine perspective,” said Academy president María Elena Wood. Erika Halvorsen from Netflix noted, “The Creative Equity Fund, as its name implies, aims to bridge gaps and ensure greater diversity.”

Storm Clouds Gather  

The future appears bright. We are expanding each year,” stated Gabriela Sandoval, co-founder of Sanfic and director of Sanfic Industria. She highlights this year’s distribution-focused Locarno Industry Academy as a step in the right direction. “The biggest challenge for Latin America is its connection with audiences.” However, there are signs of trouble on the horizon. Chile will hold general elections on November 16. The right-wing candidate José Antonio Kast, who supports Jair Bolsonaro, is leading in the polls. Sanfic receives co-financing from Chile’s Ministry of Culture and Arts through a multi-year agreement, which should remain unaffected by a change in government. “Should,” however, is a disappointing word. “It’s crucial that we solidify and enhance initiatives like this,” said Carolina Arredondo, a well-known Minister of Culture, Arts, and Heritage in Chile, during the Cine Lab presentation. “At least in the past year, cultural budgets have increased. But it’s very easy to lose everything in an instant. We must make it our shared mission to preserve what we have.

The Deals

*Chilean actors Alfredo Castro, Paulina García, and Benjamín Vicuña will lead the horror series “The Unwelcome,” which is part of the Sanfic Series Lab initiative.

*Roberto Doveris, the Berlin winner of “Plants,” introduced at Sanfic WIPs a shapeshifting fantasy titled “Blood Red Nails,” elevating soccer wife narratives to a fresh level.

*German producer Weltfilm and Brazilian distributor Descoloniza Filmes have joined Lucas Weglinski’s first fictional feature film “The Night is a Farce” (“A Noite É Uma Farsa”), which was also chosen for the pix-in-post WIP Iberoamericana presentation at this year’s Sanfic Industria.

*Ana Brun, the first actress from Paraguay to receive a Berlinale Silver Bear (for “The Heiresses”) is set to appear in Catalina Torres Puentes’ film “I Thought I Was Swimming.”

El Capo” star Marlon Moreno and actress Loren Sofía Paz, known for “One Hundred Years of Solitude,” will headline the film “Goodbye Father.

*Chilean actress Paulina García, who won the Berlin Best Actress award for Sebastián Lelio’s “Gloria,” will star in Tarea Fina’s ‘La ilusión de un paraíso,’ directed by Argentine Valeria Pivato.

*García will also lead the Panama-based drama “Victoria in the Clouds” by Ana Endara, which is also set to participate in the Europe-Latin America Co-Production Forum at the San Sebastián Festival, taking place from September 22 to 24.

*Developed in reaction to a significant change in the audiovisual industry, Mexico will host the Blood Window Vertical from Sept. 26-27, a two-day intensive program aimed at assisting up-and-coming genre filmmakers in an emerging new format, the Vertical. The new effort is coordinated by the Morbido Group and the Cannes Film Market.