{"id":9593,"date":"2016-04-06T20:03:06","date_gmt":"2016-04-06T23:03:06","guid":{"rendered":"http:\/\/www.amchamchile.cl\/?p=147216"},"modified":"2016-04-11T15:11:42","modified_gmt":"2016-04-11T18:11:42","slug":"cine-chileno-en-el-ojo-del-mundo","status":"publish","type":"news","link":"https:\/\/amchamchile.cl\/en\/noticia\/cine-chileno-en-el-ojo-del-mundo\/","title":{"rendered":"[:es]Cine chileno en el ojo del mundo[:en]Chilean cinema gains global recognition[:]"},"content":{"rendered":"

[:es]En el \u00faltimo quinquenio la industria audiovisual local ha ido ganando espacio en Latinoam\u00e9rica, Europa, Estados Unidos y ya se prepara para llegar al mercado asi\u00e1tico.<\/em><\/strong><\/p>\n

Por Alejandra Aguirre y Alejandra Melo.<\/em><\/strong><\/p>\n

El cortometraje Historia de un Oso no s\u00f3lo acapar\u00f3 las miradas del mundo al ganar el primer Oscar para Chile, sino tambi\u00e9n abre una puerta para que el contenido audiovisual local comience a ser reconocido en el extranjero.<\/p>\n

Gabriel Osorio y Patricio Escala, los ganadores de la estatuilla no son el \u00fanico caso de \u00e9xito, aunque sin duda, el m\u00e1s visible. En los \u00faltimos diez a\u00f1os, el cine chileno ha logrado triunfar de manera sostenida, siendo premiado en festivales como Cannes, Berl\u00edn, Toronto, San Sebasti\u00e1n, Locarno, Rotterdam o Guadalajara.<\/p>\n

A su vez, ha nacido un nuevo nicho de realizaciones que apuntan a la venta masiva de tickets<\/em>, como es el caso de las pel\u00edculas Fuerzas Especiales, Que Pena Tu Vida, Que Pena tu Boda, Promedio Rojo, Mis Peores Amigos, El Bosque de Karadima y Stefan v\/s Kramer, que dada su taquilla, ya se sumaron a la parrilla program\u00e1tica de la plataforma Netflix, junto a la serie Gringolandia.<\/p>\n

La animaci\u00f3n tambi\u00e9n ha generado un volumen de negocios interesante, logrando ventas a grandes cadenas como Cartoon Network, Disney Channel y Discovery Kids. Adem\u00e1s, Chile ofrece contenidos de alta calidad para ni\u00f1os y eso se traduce en alianzas de co producci\u00f3n con canales p\u00fablicos de Sudam\u00e9rica como Pakapaka (Argentina), Se\u00f1al Colombia, Gloob de Globo (Brasil).<\/p>\n

La producci\u00f3n de televisi\u00f3n independiente tambi\u00e9n ha logrado buenos resultados, exportando al extranjero series como Sitiados, El reemplazante, Pr\u00f3fugos y Gen Mishima.<\/p>\n

Seg\u00fan la directora ejecutiva de CinemaChile, Constanza Arena, el inter\u00e9s extranjero por apreciar y adquirir contenidos locales ha aumentado, lo que atribuye \u201ca su calidad, esfuerzo sistematizado y mancomunado entre distintas instituciones p\u00fablicas y privadas para generar instrumentos de financiamiento que posibilitan participar en los mercados y festivales m\u00e1s importantes del mundo y la existencia de una agencia como CinemaChile, que articula todos estos esfuerzos y estructura una estrategia de posicionamiento permanente en destinos clave\u201d.<\/p>\n

\"profugos\"<\/a>\u00a0Serie Pr\u00f3fugos.<\/em><\/p>\n

Europa, gran consumidor<\/strong>\u00a0<\/strong><\/p>\n

Donde m\u00e1s se consume y valora el contenido chileno es en el mercado europeo, especialmente en Francia (pa\u00eds con el que existe un acuerdo de coproducci\u00f3n vigente). Un estudio de CinemaChile sobre las exportaciones de cine nacional de 2013 demostr\u00f3 que 60% de ellas tienen lugar en el viejo continente. En cuanto a la televisi\u00f3n (live action<\/em> y animada), el destino es Am\u00e9rica Latina, donde se han producido las mayores ventas y coproducciones.<\/p>\n

En el mediano plazo, CinemaChile contempla llegar al mercado asi\u00e1tico, dado que identific\u00f3 zonas potenciales que pueden favorecer la producci\u00f3n nacional.<\/p>\n

Tambi\u00e9n, intentar\u00e1 potenciar el mercado interno. \u201cSi miras la oferta de las salas de cine en el a\u00f1o, el 90% de las pel\u00edculas son norteamericanas y del otro 10%, habr\u00e1 un 3% de chilenas y el 7% del resto del mundo\u201d, explica el presidente de la Asociaci\u00f3n de Productores de Cine y Televisi\u00f3n (APCT), Sergio G\u00e1ndara.<\/p>\n

Pero si de servicios audiovisuales se trata, el principal mercado es Estados Unidos. De hecho, en 2013 represent\u00f3 un 59,7% del total de las exportaciones del sector audiovisual, mientras que en 2014 la cifra se elev\u00f3 a 69,7%, explica Jennyfer Salvo, subdirectora de Marketing, Comunicaciones y Marcas de ProChile.<\/p>\n

En tanto, en Europa, Chile a\u00fan tiene una deuda pendiente con Italia, donde las exportaciones a\u00fan son bajas, pese a que ese pa\u00eds cuenta con uno de los festivales m\u00e1s relevantes: el de Venecia. Mientras, en Latinoam\u00e9rica, existe la intenci\u00f3n de penetrar con mayor fuerza en Brasil, donde se espera conquistar terreno en el mediano plazo.<\/p>\n

En 2013, la industria audiovisual en Chile export\u00f3 US$ 31.780.000, cifra que lleg\u00f3 a su peak<\/em> en 2014 cuando alcanz\u00f3 los US$ 34.532.000 en 2014, un incremento de 8,7%.<\/p>\n

G\u00e1ndara explica que a nivel global, las plataformas online est\u00e1n modificando la forma de consumo audiovisual, en especial, de ficci\u00f3n. \u201cEn los \u00faltimos dos o tres a\u00f1os la demanda por ficci\u00f3n se ha duplicado en el mundo. Teniendo Netflix en la casa, puedes ver los cap\u00edtulos de una serie uno tras otro y como la gente consume m\u00e1s r\u00e1pido, hay mayor demanda por contenido\u201d, asegura.<\/p>\n

\"Sin<\/a>\u00a0Pel\u00edcula Sin Filtro de Nicol\u00e1s L\u00f3pez.<\/em><\/p>\n

Rodar en Chile no \u201cdespega\u201d<\/strong>\u00a0<\/strong><\/p>\n

El presidente de la APCT dice que todav\u00eda no hay inter\u00e9s de las mega productoras por venir a grabar a Chile. \u201cNo existen incentivos tributarios para promover la inversi\u00f3n extranjera en el sector audiovisual y esas herramientas s\u00ed las tienen nuestros pa\u00edses vecinos con los que competimos como Colombia, donde puedes recuperar hasta el 40% de lo que inviertes (en base a franquicias tributarias) y Argentina, donde se negocian uno a uno con los medios para que se instalen, descontando impuestos\u201d, reflexiona.<\/p>\n

Seg\u00fan el ministro de Cultura, Ernesto Ottone, el gobierno est\u00e1 desarrollando un trabajo interministerial que permita tener un incentivo econ\u00f3mico para producciones de alto impacto pronto, \u201clo que catapultar\u00eda al pa\u00eds como uno de los destinos m\u00e1s deseables para filmar en el mundo\u201d.<\/p>\n

No obstante, pese a no tener alicientes econ\u00f3micos a\u00fan, el titular de la cartera asegura que Chile es bastante competitivo a nivel de precio por la relaci\u00f3n peso\/d\u00f3lar, que involucra un costo final de 20% menos en la contrataci\u00f3n de servicios de producci\u00f3n, y por las pol\u00edticas tributarias de devoluci\u00f3n del IVA en la exportaci\u00f3n.<\/p>\n

En 2015, la entidad a cargo de promover las locaciones chilenas en el extranjero, Film Commission Chile (FCCh) -perteneciente al Consejo Nacional de la Cultura y las Artes (CNCA)-, atendi\u00f3 cerca de 50 producciones nacionales e internacionales. Estos, en su mayor\u00eda largometrajes (ficci\u00f3n y documental), programas y series de televisi\u00f3n y publicidad, provenientes de Brasil, Francia, China, Inglaterra, M\u00e9xico, India y Estados Unidos.<\/p>\n

\u201cEl desaf\u00edo es generar y ofrecer un modelo competitivo, no solamente desarrollando incentivos econ\u00f3micos, sino que como pa\u00eds debemos ser capaces de articular una industria con cobertura regional, t\u00e9cnicos biling\u00fces, especializados en su m\u00e1s alto nivel, con infraestructura sustentable que conviva con nuestras locaciones bien cuidadas y con un entorno social que impulse y apoye esta actividad\u201d, destaca el ministro Ottone.<\/p>\n

El CNCA -el principal \u00f3rgano del Estado que apoya la producci\u00f3n audiovisual chilena- dispuso para este 2016 m\u00e1s de $7.917 millones para el Consejo del Arte y la Industria Audiovisual (CAIA). De esta suma, unos $4.189 millones se destinar\u00e1n a 225 proyectos ganadores del Fondo Concursable.<\/p>\n

A su vez, desde el 2001, el programa de apoyo a la industria audiovisual de Corfo, ha financiado a un total de 884 proyectos audiovisuales (entre los concursos de Cine, TV y Distribuci\u00f3n), con una inversi\u00f3n de $10.256 millones.<\/p>\n

Por otra parte, la firma de un acuerdo entre el Estado y los estudios brit\u00e1nicos Pinewood para evaluar instalarse en el pa\u00eds (y desde aqu\u00ed operar hacia Am\u00e9rica Latina), no s\u00f3lo impulsar\u00eda la llegada de nuevos equipos a rodar al pa\u00eds, sino tambi\u00e9n la capacitaci\u00f3n de t\u00e9cnicos que necesitar\u00e1n para proveerlos.<\/p>\n

La televisi\u00f3n a\u00fan mueve la industria<\/strong>\u00a0<\/strong><\/p>\n

\u201cMe atrever\u00eda a decir que el cine chileno a nivel industrial no existe, creo que est\u00e1 en una etapa pre-industrial. Lo que s\u00ed mueve al sector es la televisi\u00f3n y lo que ha pasado con la crisis en los canales es que \u00e9stos se han visto en la obligaci\u00f3n de reducir sus costos y hacer m\u00e1s eficientes sus producciones. Por eso, los productores externos o independientes hemos estado atentos y disponibles para proveer a los canales de contenidos\u201d, asegura G\u00e1ndara.<\/p>\n

Dice, adem\u00e1s, que el mundo audiovisual en Chile -contando el cine, la televisi\u00f3n, publicidad, etc.- mueve cerca de US$1.000 millones al a\u00f1o, de los cuales US$600 mil son s\u00f3lo televisi\u00f3n. Por esto, auspicia un 2016 significativo para las productoras, dado que todos los canales se est\u00e1n abriendo a la posibilidad de trabajar en sociedad con ellas.<\/p>\n

Productoras apuntan a Estados Unidos<\/strong>\u00a0<\/strong><\/p>\n

Una de las productoras que est\u00e1 cosechando \u00e9xito en EE.UU. es Sobras, ligada al director de cine chileno, Nicol\u00e1s L\u00f3pez. Miguel Asensio, productor ejecutivo de la empresa con pel\u00edculas como Sin Filtro y Fuerzas Especiales, comenta que el modelo de negocios de Sobras se ancla en el desarrollo productos tem\u00e1ticos, los que se exportan a ese pa\u00eds son productos terminados.<\/p>\n

\u201cNuestro mercado est\u00e1 en Estados Unidos, hacemos cine bajo sus normas y est\u00e1ndares, y para ello trabajamos los g\u00e9neros dram\u00e1ticos que venden, que son comedia y terror\u201d. Fue precisamente su largometraje de terror, Knock knock, el que dej\u00f3 las m\u00e1s altas ganancias para la productora desde 1998, cuyas recaudaciones van desde los US$4 millones a los US$12 millones por largometraje.<\/p>\n

\"bear_2\"<\/a>\u00a0Corto animado Historia de un Oso de Gabriel Osorio.<\/em><\/p>\n

Para lograrlo, Sobras vende el contenido, derecho e ideas a inversionistas norteamericanos que financian la realizaci\u00f3n. La estrategia es simple, a los seis meses del estreno en cine, pasan a formato VOD (Video on Demand<\/em>) y se venden a la plataforma Netflix, cuyo contrato es renovable dependiendo de la cantidad de reproducciones. Este modelo los ha convertido en la \u00fanica productora nacional con m\u00e1s de diez producciones en la plataforma de TV en internet.<\/p>\n

Tambi\u00e9n destaca el caso de F\u00e1bula Producciones, donde manejan dos modelos de negocios para comercializar contenidos en EE.UU.: en coproducci\u00f3n con empresas locales -como lo hicieron con No y Neruda, de Pablo Larra\u00edn- y con aportes estadounidenses en coproducci\u00f3n, con los cuales ese pa\u00eds se adjudica un porcentaje de los derechos de la pel\u00edcula, logrando la potestad de explotarla en su territorio. La exitosa modalidad de trabajo de F\u00e1bula tambi\u00e9n se puede apreciar en la reciente producci\u00f3n de Jackie, pel\u00edcula sobre Jacqueline Kennedy y el periodo posterior al asesinato del presidente John F. Kennedy en 1963, cuyo rodaje se realiz\u00f3 en Washington D.C. El filme, dirigido por el chileno Pablo Larra\u00edn y protagonizado por la actriz Natalie Portman, se estrenar\u00e1 en 2017.<\/p>\n

\u201cDado que Chile no tiene acuerdos gubernamentales con Estados Unidos en materia de coproducci\u00f3n, se negocian tratos directos por contrato con las productoras extranjeras, un modelo donde ambos ganan y hace a la industria nacional un negocio rentable\u201d, se\u00f1ala Hartard.<\/p>\n

En el caso de las dos temporadas de Pr\u00f3fugos, Hartard cuenta que fue distinto, primero, porque la producci\u00f3n fue destinada a Latinoam\u00e9rica y porque la idea y propiedad se vendi\u00f3 a HBO, negocio que pese a despojar de derechos a la productora -que vende la idea, guiones, pre y post producci\u00f3n- resulta rentable, m\u00e1s a\u00fan cuando se concretan nuevas temporadas.<\/p>\n

Los modelos adoptados por las productoras nacionales, rescata Asensio, responden a una l\u00f3gica de apertura del mercado internacional, en vista de la escasa industria chilena. \u201cNo hay t\u00e9cnicos suficientes ni hay incentivos fiscales como en Colombia y M\u00e9xico, donde s\u00ed existe una industria que incentiva a grabar en el pa\u00eds y a contar con personal capacitado para ello\u201d.<\/p>\n

Chile comienza a dar los primeros pasos en la venta de contenidos audiovisuales, abriendo nuevos mercados y posicion\u00e1ndose tanto en la industria del cine, como tambi\u00e9n en la de televisi\u00f3n. \u00bfPendientes? La conquista de series nacionales en internet y redes sociales y los incentivos para desarrollar en serio, el rodaje.<\/p>\n

Caso de \u00e9xito de animaci\u00f3n<\/strong>\u00a0<\/strong><\/p>\n

La productora nacional PunkRobot lleva ocho a\u00f1os trabajando en animaciones, mayoritariamente para ni\u00f1os. Ganadores de programas y fondos nacionales, reconocen que luego del financiamiento, su principal piedra de tope es la distribuci\u00f3n internacional, obst\u00e1culo que podr\u00eda comenzar a cambiar.<\/p>\n

Gabriel Osorio, director de la productora y creador de Historia de un oso, comenta que obtener el Oscar al mejor cortometraje, les abre oportunidades de desarrollo tem\u00e1tico y de mercado, entre las que barajan trabajar con productores norteamericanos. Las posibilidades van desde la creaci\u00f3n de un largometraje animado, el primero de PunkRobot, a una apuesta por contenido enfocado a un p\u00fablico m\u00e1s adulto, o transversal, como el filme con el que se hicieron mundialmente conocidos.<\/p>\n

El trabajo del corto ganador comenz\u00f3 en 2010, en paralelo a productos publicitarios y series infantiles, con las cuales la productora pudo abrirse al mercado internacional. En 2012, exportaron a Brasil la miniserie Muelines, emitida por el canal infantil Gloob; el mismo a\u00f1o PunkRobot particip\u00f3 de Kidscreen, espacio donde mostraron sus animaciones a canales de televisi\u00f3n estadounidenses, como Cartoon Network, Disney y Nickelodeon.<\/p>\n

El reciente \u00e9xito y reconocimiento internacional de la productora les ha permitido ampliar sus fronteras, por lo que su meta para 2016 es comercializar series infantiles, ya terminadas, como SoccerGirls, y comenzar el rodaje de un nuevo largometraje, para lo cual ya est\u00e1n en conversaciones con productores internacionales y diferentes entidades que propicien su financiamiento.[:en]Over the last five years, the Chilean audiovisual industry has grown in stature in Latin America, Europe and the United States, and is now preparing to take on the Asian market.<\/em><\/strong><\/p>\n

The short film, Bear Story (Historia de un Oso), not only captured worldwide attention by winning the first Academy Award for a Chilean production in 2015, but also opened the door to growing global recognition for locally produced audiovisual content.<\/p>\n

Despite being the most visible success stories from Chile, Gabriel Osorio and Patricio Escala, the winners of the Oscar, are not the only examples of Chilean talent growing in stature. Over the last decade, Chilean cinema has gained increasing acclaim across prestigious international film festivals such as Cannes, Berlin, Toronto, San Sebastian, Locarno, Rotterdam and Guadalajara.<\/p>\n

At the same time, a new niche of productions has given rise to a hike in box office receipts following the release of films including Third World Cops (Fuerzas Especiales), Shame About Your Life (Qu\u00e9 Pena Tu Vida), Shame About Your Wedding (Qu\u00e9 Pena Tu Boda), Average Red (Promedio Rojo), Worst Best Friends (Mis Peores Amigos), Karadima\u2019s Forest (El Bosque de Karadima) and Stefan vs. Kramer. This box office success has been translated into an ever-lengthening list of notable films, as well as the television series, Gringolandia, being incorporated onto the online streaming platform, Netflix.<\/p>\n

Animation has also generated growing interest, with sales having been secured to distinct television networks, including Cartoon Network, Disney Channel and Discovery Kids. Chile is also providing high quality content for children, which has resulted in co-production efforts with publically owned channels in South America, such as Pakapaka from Argentina, Se\u00f1al Colombia, and Gloob, which is owned by the Brazilian television network, Globo.<\/p>\n

Independent television production has also achieved notable success, having exported series such as Besieged (Sitiados), The Substitute (El Reemplazante), Fugitives (Pr\u00f3fugos) and Gen Mishima.<\/p>\n

According to the executive director of CinemaChile, Constanza Arena, foreign interest in enjoying and acquiring Chilean content is on the rise. Arena attributes this to the, \u201cquality (of the content) and a systematic and joint effort between different public and private institutions (in Chile) to generate financing instruments that facilitate participation in the most prominent international markets and festivals (as well as) the existence of an agency like CinemaChile, which coordinates these efforts and devises an ongoing positioning strategy in key locations\u201d.<\/p>\n

\"profugos\"<\/a>\u00a0Pr\u00f3fugos (2014)<\/em><\/p>\n

European consumption<\/strong>\u00a0<\/strong><\/p>\n

The European market is the largest consumer of Chilean content, particularly France, a country with which Chile has a co-production agreement in place. Research compiled by CinemaChile into domestic cinema trends in 2013 shows that 60% of all exports were to the European market. In terms of television (live action and animated), the biggest export market was Latin America, which constituted the most substantial sales and highest number of co-productions.\u00a0<\/strong><\/p>\n

In the medium term, CinemaChile plans to launch its audiovisual products on the Asian market, having already identified areas that could be particularly receptive to Chilean productions.<\/p>\n

Efforts are also aimed at strengthening the internal market. Sergio G\u00e1ndara, president of the Association of Film and Television Producers (APCT) notes that, \u201cif you look at the annual supply of films in national movie theaters, 90% are from the US and, of the remaining 10%, 3% are Chilean and 7% come from the rest of the world\u201d.<\/p>\n

However, in terms of audiovisual services, the main market is the US. In fact, Jennyfer Salvo, deputy director of marketing, communications and brands at ProChile, explains that in 2013 the US market represented 59.7% of all exports from the audiovisual sector; a figure that reached 69.7% in 2014.<\/p>\n

In terms of Europe, there is a particular opportunity for Chile to improve its exports to Italy; exports to the Italian market remain low, despite the fact that the Venice Film Festival is one of the most prestigious in the international annual calendar. Similarly, in Latin America, efforts are underway to penetrate the Brazilian market, which Chilean cinema is expecting to conquer in the medium term.<\/p>\n

In 2013, exports from the Chilean audiovisual industry totaled US$31,780,000. In 2014, this figure rose by 8.7% to US$34,532,000.<\/p>\n

G\u00e1ndara explains that, globally, online platforms are changing the way in which the public consumes audiovisual content, particularly in terms of fiction. \u201cOver the last two or three years, the demand for fiction has doubled around the world. Having Netflix at home means you can watch the latest series one after the other. As people are consuming faster, there is growing demand for greater amounts of content\u201d, he notes.\u00a0\u00a0<\/strong><\/p>\n

Filming in Chile struggling to \u2018take off\u2019<\/strong>\u00a0<\/strong><\/p>\n

Notably, G\u00e1ndara believes that interest from the major production companies is still lacking in terms of filming in Chile. He explains that, \u201cthere are no tax incentives to promote foreign investment in the audiovisual sector, unlike our regional competitors, such as Colombia, where players can recuperate up to 40% of their investment (based on tax exemptions), and Argentina, where one-on-one negotiations take place to secure investment, before taxes are then discounted\u201d.<\/p>\n

\"Sin<\/a>\u00a0Sin Filtro (2015)<\/em><\/p>\n

According to the Chilean Minister of Culture, Ernesto Ottone, the government is pursuing an interministerial initiative to develop economic incentives for audiovisual productions, which is due to be implemented in the short term. The minister states that this initiative, \u201cwill establish the country as one of the most desirable film locations in the world\u201d.<\/p>\n

Nevertheless, despite the current lack of economic incentives, Ottone contends that Chile is highly competitive in terms of price, given the peso to dollar exchange rate. This, he says, means a final cost of up to 20% less with respect to hiring production services and due to the tax system, whereby VAT is excluded for products and service destined for export.<\/p>\n

In 2015, the entity responsible for promoting Chilean film locations abroad, the Film Commission Chile (FCCh), which falls under the mandate of the National Council of Culture and the Arts (CNCA), dealt with almost 50 domestic and international productions. The majority of these were feature length films (fiction and documentary), television productions and series, and television commercials from a number of different countries, including Brazil, France, China, the UK, Mexico, India and the US.<\/p>\n

Ottone adds that, \u201cthe challenge is generating and providing a competitive model; not only devising economic incentives, but also, as a country, being able to construct a highly specialized industry with regional coverage, bilingual abilities, with a sustainable infrastructure that coexists with our well-maintained locations and in conjunction with a social environment that encourages and supports this overall drive\u201d.<\/p>\n

The CNCA, which is the main State body backing audiovisual production in the country, has designated CLP$7.917 billion to the Arts and Audiovisual Industry Council (CAIA) in 2016. Of this amount, CLP$4.189 will be allocated to 225 winning projects stemming from the Fondo Concursable grant fund initiative open to the general public.<\/p>\n

Since 2001, the support program that fosters the development of the audiovisual industry, which is mandated by Corfo, the Chilean Economic Development Agency, has invested approximately CLP$10.256 billion and financed a total of 884 audiovisual projects across the different funds pertaining to cinema, television and distribution.<\/p>\n

In addition, the signing of an agreement between the Chilean State and the British film and television company Pinewood Studios to evaluate the possibility of opening its studios in Chile (to then use as a base for operating across Latin America) generates a number of growth opportunities. Not only would the arrival of Pinewood Studios in Chile boost the numbers of new film crews working in the country, but it would also enhance the technical abilities of the local talent pool required to supply the visiting production professionals.<\/p>\n

Television is still the driving force<\/strong>\u00a0<\/strong><\/p>\n

G\u00e1ndara states, \u201cI would dare say that Chilean cinema on the industrial level is non-existent; I believe that it is still at the pre-industrial level. The area that is really driving the industry is television and, given the impact of the economic crisis, networks have had to reduce their costs and streamline the efficiency of their productions. As a result, external and independent producers have been attentive and available to provide content for the networks\u201d.<\/p>\n

G\u00e1ndara adds that the audiovisual industry in Chile, which consists of cinema, television, advertising, and other areas, generates approximately US$1 billion per year, of which US$600 million corresponds just to television. Since the networks are opening up to the possibility of working in collaboration with the producers, he predicts a profitable year ahead for the sector.<\/p>\n

Producers are looking to the United States<\/strong><\/p>\n

One production company that is garnering success in the US is Sobras, created by the Chilean film director, Nicol\u00e1s L\u00f3pez. Miguel Asensio, executive director of the same company, which produced the likes of Third World Cops and No Filter (Sin Filtro), states that the business model of Sobras revolves around the development of thematic products, which are subsequently exported to the US only once they have been completed.<\/p>\n

\u201cOur market is the US; we make films according to their norms and standards and that\u2019s why we concentrate on drama-based genres that sell, like comedy and horror\u201d, notes Asensio. In fact, it was precisely Sobras\u2019 feature length horror film, Knock Knock, that generated the production company\u2019s highest earnings since its initiation in 1998. Regarding income generation, the company\u2019s revenues range from US$4 million to US$12 million per feature length film.<\/p>\n

\"bear_2\"<\/a>\u00a0Bear Story (2015)<\/em><\/p>\n

To achieve this level of success, Sobras sells its content, rights and ideas to US-based investors who subsequently finance the final projects. The strategy is simple: six months after their theatrical release in the cinema, productions pass to a Video on Demand (VOD) format and are sold to Netflix, whose contract is renewable, depending on the amount of customer streamings. This model has transformed Sobras into the only Chilean production company with more the ten productions available on the online television platform.<\/p>\n

Another notable success story is F\u00e1bula Producciones, which employs two distinct business models to market its content to the US. One is to co-produce content with locally based companies, which is the model it used when making the films No and Neruda, both directed by Chilean Pablo Larra\u00edn. The second is by means of US co-production contributions, through which the country gains a percentage of the rights to the film in question and the legal authority to commercialize it across the American market.<\/p>\n

In addition, the successful working model of F\u00e1bula is illustrated by the recent production of Jackie, a film about Jacqueline Kennedy and the period following the assassination of her husband and former president, John F. Kennedy in 1963. The film was shot in Washington D.C., was directed by Pablo Larra\u00edn and stars actress Natalie Portman. It is due for release in 2017.<\/p>\n

Hartard contends that, \u201csince Chile has no State-level agreements with the United States in the field of co-production, contracts are drawn up directly with foreign producers; a model through which both parties win and one which makes the Chilean industry profitable\u201d.<\/p>\n

In the case of the two seasons of Fugitives, Hartard explains that things were different: first, because production took place in Latin America; and second, because the idea and ownership were sold to the US-based network, HBO. Despite relinquishing the rights to the production company, which then sells the idea, script, and pre-and post-production, the model is profitable, even more so when new seasons are commissioned.<\/p>\n

Asensio claims that the models adopted by Chilean production companies follow the logic of opening up to international markets, given the small scale of the domestic Chilean industry. He adds that, \u201cthere are insufficient numbers of technically trained professionals (in Chile), and there are no tax incentives as there are in countries like Colombia and Mexico, where filming is incentivized and which are home to the necessary amounts of trained individuals\u201d.<\/p>\n

Chile is beginning to take the first steps in marketing its audiovisual content, and in the process is opening up new markets and positioning itself in both the cinema and television industries. Despite these positive moves, pending challenges remain. These primarily relate to conquering the internet-based platforms with domestically produced television series, as well as the government implementing comprehensive incentives to encourage additional filming in the country.<\/p>\n

The success story of animation<\/strong>\u00a0<\/strong><\/p>\n

The Chilean production company PunkRobot has been working in the field of animation, mainly for children, for eight years. Having secured benefits from numerous national programs and tenders, the company executives now recognize that beyond the issue of financing, their principal obstacle is international distribution; and this is an obstacle that could be about to disappear.<\/p>\n

Gabriel Osorio, director and creator of Bear Story, says that winning the Academy Award for Best Animated Short in 2015 has opened up a number of opportunities in terms of thematic and market development, including working with producers in the US. The possibilities range from creating a feature length animated film, the first by PunkRobot, to a change of direction by focusing on more adult, or universal, content, as is the case with the film with which Osorio and his crew gained global recognition.<\/p>\n

In terms of Bear Story, work on the Oscar-winning short film began in 2010, in conjunction with parallel commercial offerings and children\u2019s series, with which the production company was able to gain exposure to international markets. In 2012, PunkRobot exported the miniseries Muelines to Brazil, where it was aired by the children\u2019s channel Gloob. In the same year, PunkRobot also participated in Kidscreen, a space in which its animations were shown to the senior management of major US television channels, including Cartoon Network, Disney and Nickelodeon.<\/p>\n

The recent success and international recognition of PunkRobot has enabled the company to broaden its outlook. As a result, its objective for 2016 is to market the children\u2019s series it has already completed, such as Soccer Girls, and to begin filming a new feature length film. In terms of the latter, the company has already initiated discussions with international producers and different bodies relating to financing opportunities.[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es]En el \u00faltimo quinquenio la industria audiovisual local ha ido ganando espacio en Latinoam\u00e9rica, Europa, Estados Unidos y ya se prepara para llegar al mercado asi\u00e1tico. Por Alejandra Aguirre y Alejandra Melo. El cortometraje Historia de un Oso no s\u00f3lo acapar\u00f3 las miradas del mundo al ganar el primer Oscar para Chile, sino tambi\u00e9n abre […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"template":"","news_tax":[],"user_type":[],"class_list":["post-9593","news","type-news","status-publish","hentry"],"acf":[],"yoast_head":"\n[:es]Cine chileno en el ojo del mundo[:en]Chilean cinema gains global recognition[:] - AmCham Chile<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:es]Cine chileno en el ojo del mundo[:en]Chilean cinema gains global recognition[:] - AmCham Chile\" \/>\n<meta property=\"og:description\" content=\"[:es]En el \u00faltimo quinquenio la industria audiovisual local ha ido ganando espacio en Latinoam\u00e9rica, Europa, Estados Unidos y ya se prepara para llegar al mercado asi\u00e1tico. Por Alejandra Aguirre y Alejandra Melo. El cortometraje Historia de un Oso no s\u00f3lo acapar\u00f3 las miradas del mundo al ganar el primer Oscar para Chile, sino tambi\u00e9n abre […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/\" \/>\n<meta property=\"og:site_name\" content=\"AmCham Chile\" \/>\n<meta property=\"article:modified_time\" content=\"2016-04-11T18:11:42+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/amchamchile.cl\/wp-content\/uploads\/2016\/04\/profugos-300x200.jpg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"23 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/\",\"url\":\"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/\",\"name\":\"[:es]Cine chileno en el ojo del mundo[:en]Chilean cinema gains global recognition[:] - AmCham Chile\",\"isPartOf\":{\"@id\":\"https:\/\/amchamchile.cl\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/amchamchile.cl\/wp-content\/uploads\/2016\/04\/profugos-300x200.jpg\",\"datePublished\":\"2016-04-06T23:03:06+00:00\",\"dateModified\":\"2016-04-11T18:11:42+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/#primaryimage\",\"url\":\"http:\/\/amchamchile.cl\/wp-content\/uploads\/2016\/04\/profugos-300x200.jpg\",\"contentUrl\":\"http:\/\/amchamchile.cl\/wp-content\/uploads\/2016\/04\/profugos-300x200.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/amchamchile.cl\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"[:es]Cine chileno en el ojo del mundo[:en]Chilean cinema gains global recognition[:]\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/amchamchile.cl\/#website\",\"url\":\"https:\/\/amchamchile.cl\/\",\"name\":\"AmCham Chile\",\"description\":\"C\u00e1mara Chilena Norteamericana de Comercio\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/amchamchile.cl\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"[:es]Cine chileno en el ojo del mundo[:en]Chilean cinema gains global recognition[:] - AmCham Chile","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/","og_locale":"en_US","og_type":"article","og_title":"[:es]Cine chileno en el ojo del mundo[:en]Chilean cinema gains global recognition[:] - AmCham Chile","og_description":"[:es]En el \u00faltimo quinquenio la industria audiovisual local ha ido ganando espacio en Latinoam\u00e9rica, Europa, Estados Unidos y ya se prepara para llegar al mercado asi\u00e1tico. Por Alejandra Aguirre y Alejandra Melo. El cortometraje Historia de un Oso no s\u00f3lo acapar\u00f3 las miradas del mundo al ganar el primer Oscar para Chile, sino tambi\u00e9n abre […]","og_url":"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/","og_site_name":"AmCham Chile","article_modified_time":"2016-04-11T18:11:42+00:00","og_image":[{"url":"http:\/\/amchamchile.cl\/wp-content\/uploads\/2016\/04\/profugos-300x200.jpg","type":"","width":"","height":""}],"twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"23 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/","url":"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/","name":"[:es]Cine chileno en el ojo del mundo[:en]Chilean cinema gains global recognition[:] - AmCham Chile","isPartOf":{"@id":"https:\/\/amchamchile.cl\/#website"},"primaryImageOfPage":{"@id":"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/#primaryimage"},"image":{"@id":"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/#primaryimage"},"thumbnailUrl":"http:\/\/amchamchile.cl\/wp-content\/uploads\/2016\/04\/profugos-300x200.jpg","datePublished":"2016-04-06T23:03:06+00:00","dateModified":"2016-04-11T18:11:42+00:00","breadcrumb":{"@id":"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/#primaryimage","url":"http:\/\/amchamchile.cl\/wp-content\/uploads\/2016\/04\/profugos-300x200.jpg","contentUrl":"http:\/\/amchamchile.cl\/wp-content\/uploads\/2016\/04\/profugos-300x200.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/amchamchile.cl\/noticia\/cine-chileno-en-el-ojo-del-mundo\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/amchamchile.cl\/en\/"},{"@type":"ListItem","position":2,"name":"[:es]Cine chileno en el ojo del mundo[:en]Chilean cinema gains global recognition[:]"}]},{"@type":"WebSite","@id":"https:\/\/amchamchile.cl\/#website","url":"https:\/\/amchamchile.cl\/","name":"AmCham Chile","description":"C\u00e1mara Chilena Norteamericana de Comercio","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/amchamchile.cl\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/amchamchile.cl\/en\/wp-json\/wp\/v2\/news\/9593","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/amchamchile.cl\/en\/wp-json\/wp\/v2\/news"}],"about":[{"href":"https:\/\/amchamchile.cl\/en\/wp-json\/wp\/v2\/types\/news"}],"author":[{"embeddable":true,"href":"https:\/\/amchamchile.cl\/en\/wp-json\/wp\/v2\/users\/1"}],"version-history":[{"count":0,"href":"https:\/\/amchamchile.cl\/en\/wp-json\/wp\/v2\/news\/9593\/revisions"}],"wp:attachment":[{"href":"https:\/\/amchamchile.cl\/en\/wp-json\/wp\/v2\/media?parent=9593"}],"wp:term":[{"taxonomy":"news_tax","embeddable":true,"href":"https:\/\/amchamchile.cl\/en\/wp-json\/wp\/v2\/news_tax?post=9593"},{"taxonomy":"user_type","embeddable":true,"href":"https:\/\/amchamchile.cl\/en\/wp-json\/wp\/v2\/user_type?post=9593"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}