SANFIC Industria opens with 75 Ibero-American projects and a $50,000 grading prize

SANFIC Industria, the industry strand of the Santiago International Film Festival, starts on Monday 2 November with 75 film and series projects from across Ibero-America, according to the official catalogue it published for the edition. Running until 6 November in the Chilean capital, it splits them between two works-in-progress showcases for films already shot and seven development labs, and adds ten young professionals in its Chile Industry Academy.

Key facts

• Dates: SANFIC Industria 2–6 November 2026 in Santiago; the festival itself, SANFIC22, runs 2–8 November
• WIP Iberoamericano, in its 15th edition: eight features in post-production, competing for 11 prizes, the largest a colour-grading package valued at $50,000
• Fantastic WIP, a new showcase for genre films in post-production: six titles from Colombia, Brazil, Mexico and Argentina
• Labs: 16 fiction and 17 documentary projects in Santiago LAB, six series, and four smaller labs for genre, queer and social-impact projects
• Since its first works-in-progress showcase in 2009, more than 680 projects have been through the strand, the organiser says

The strand is aimed at films that are close to done but short of the money or the services to finish. Most of what it hands out is in kind. Post-production houses, music companies, festivals and markets put up packages of grading, sound and score work, or a direct place in another event, rather than cash. For a producer with a first cut and a hole in the budget, each of those prizes takes a specific line out of the cost of finishing.

The works in progress

The WIP Iberoamericano, created in 2011, takes features of at least 60 minutes, fiction or documentary, that are at first-cut stage. The call allowed up to ten. This year’s eight were picked from 121 submissions, according to the regional trade magazine LatAm cinema. Three are Chilean, one fiction feature and two documentaries: Fernando Lavanderos’s La hierba de los caminos, produced by La Forma Cine with Cinestación, Nicolás Videla’s El Prontuario de Madame Wittmann and Paula Leonvendagar’s Zambra Análogo. LatAm cinema reports that all three have already had money from Chile’s state audiovisual fund. Colombia has two, Argentina and Panama one each, and Agustina Pérez Rial’s La otra voz is a five-country co-production of Germany, Argentina, Brazil, Colombia and Spain.

Their prizes are the biggest on offer. Post house Chemistry gives grading in 2K or 4K and two digital masters, which it values at $50,000, or about 40 hours of work, and adds sound design for the first time. Yagan Films gives sound post-production, including a 5.1 mix, valued at CLP10m ($10,100), or about eight days of work. MOWAT gives a composed and produced score valued at $15,000, to be used within six months. The only cash award is $5,000 from Rio Fundación. The other prizes are direct places in Málaga Work in Progress and in RIO-LINK, the industry space of Buenos Aires documentary festival FIDBA, plus title design from Grupo Atómica and four days of ADR and dubbing studio time from Sudamerican Voices. Buenas pelis offers a release and impact strategy with micro-distribution, Scriptsounding offers music supervision, and LatAm cinema gives a page of advertising valued at $1,500.

The first Fantastic WIP takes the same approach to genre films that have finished shooting, and Variety describes it as an online showcase. Its six titles include Fernando Sanches’s Herança Canibal from Brazil and two Mexican films, Manuel Rodríguez’s Hiena and Jorge Leyva’s Ruta al sol. The only prize in either showcase that guarantees a theatrical release sits here: Mantícora Media, a distributor and sales agent that works in genre cinema, offers a theatrical release in Mexico with prints and advertising covered. The organiser gives no budget for that release. MOWAT’s $15,000 score package, the Sudamerican Voices studio days and the LatAm cinema advertising page are also open to this strand, and SoundLab adds the composition and recording of one song.

The labs

Santiago LAB Ficción and Santiago LAB Documental, both in their 14th edition, take projects in development, pre-production or production. Directors and producers get group and one-to-one sessions with international advisers and then pitch to invited guests. The calls said each would take up to 14 projects; the catalogue lists 16 fiction and 17 documentary projects. Variety reports that the two labs drew more than 300 applications. Gabriela Sandoval, who founded SANFIC and runs its industry strand, told the magazine that the labs pair more experienced directors with first-timers so that “the more experienced directors nurture the new ones”.

The lab prizes are mostly doors to other events. EGEDA, the Ibero-American producers’ rights body, gives $3,000 in cash in each of the two labs, and We are south gives five days of documentary shooting kit and crew coordination valued at $5,000. Winners can go straight to the Málaga Fund & Co-Production Event, the Guadalajara festival’s co-production meeting and the Algo en Común market. DocsMX’s DocsLab and the EICTV’s Nuevas Miradas festival also offer direct places, alongside a residency at Cina Cina in Uruguay, FIPCA training scholarships, and music supervision, sound and script services.

Santiago LAB Series, for six series projects, focuses on the show bible and on meetings with platforms that commission and buy series in Latin America. Its prizes are market accreditations at Conecta Fiction & Entertainment and Series Mania, a place in the FAM + ECM LAB and premium passes for FICCI Industria, the Cartagena festival’s industry strand. Accreditation for PULSAR Santa Fe and legal advice from Suaya, Memelsdorff y Asoc. complete the list. The SANFIC Industria ODS LAB, for projects on the UN’s sustainable development goals, offers the same last four plus mentoring from TAL, the network of Latin American public and cultural broadcasters.

The largest cash prize with a stated value sits in a lab. Netflix gives $10,000 towards development to one of the six projects in the Incubadora Queer, which runs in Santiago and at the Guadalajara festival. The SANFIC Mórbido LAB for genre projects, in its seventh edition with Mexico’s Grupo Mórbido, offers, among other prizes, a Round Robin place at the Fantastic Pavilion in Cannes and direct selection for the producers’ forum of the Cali festival. Mórbido’s own prize is listed only as “10% of the film’s budget”, with no further terms. Woman in Fan, the Sitges festival’s programme for women genre directors, comes to Santiago for projects from Argentina, Chile and Uruguay, according to Variety. The Chile Industry Academy, for young professionals in sales, distribution and programming, runs from 2 to 5 November under the umbrella of the Locarno Industry Academy Latin America.

The festival

SANFIC22 is produced by Storyboard Media, presented by Fundación CorpArtes and funded by the culture ministry. It opens on 2 November with Ira Sachs’s The Man I Love, and Miguel del Arco’s Los Relatos is the closing film on 7 November. Its International Competition has nine films, judged by Chilean actor Daniela Ramírez, Mara Fortes, a programmer for the Telluride and Berlin festivals, and Argentine producer Ignacio Rey. The Chilean Cinema Competition also has nine, and 21 Chilean shorts compete in the National Talent Short Film Competition. The festival had named Diego Luna as a special guest, but said on 26 October that he would not travel to Santiago; his Ceniza en la boca still screens in the International Competition on 7 and 8 November. The actor Antonia Zegers receives a tribute and a five-film retrospective. Elsewhere in the region, Mexico’s Morelia festival named its winners last month and São Paulo’s Mostra gave its fiction prize to a Colombian drama.

Our reading

The prize list shows what Santiago is built to do: finish films rather than finance them. The cash on offer is small next to the services: the largest stated sums are Netflix’s $10,000 for one queer project, $5,000 in the WIP and $3,000 in each Santiago lab, while the grading package alone is valued at ten times the WIP’s cash prize. That suits titles such as the three Chilean WIP entries, which have already raised public money and now need a deliverable film. The Mantícora release in Mexico is the one prize in either showcase that guarantees a film a cinema release, and it is offered in the new genre strand rather than the main one. The next evidence is which titles take the Chemistry and Mantícora prizes. Producers looking for partners later this month have Marrakech’s Atlas Workshops and Tallinn’s Industry@Tallinn.

Full selection

The SANFIC Industria lists follow the official catalogue, programme by programme, with the countries and directors (or, for the academy, the participants) as the organiser gives them. Where the catalogue lists no director, only the country is shown. Los Otros appears in two labs and is listed in each. The eight Chilean projects in the Books at Berlinale 2027 pitch on 6 November had not been published when this piece went live.

WIP Iberoamericano

• El grito de Serankwa (dir. Yull Núñez; Colombia)
• El Prontuario de Madame Wittmann (dir. Nicolás Videla; Chile)
• La hierba de los caminos (dir. Fernando Lavanderos; Chile)
• La otra voz (dir. Agustina Pérez Rial; Germany, Argentina, Brazil, Colombia, Spain)
• La Residencia (dir. Mariel Garcia Spooner; Panama)
• Las Termas (dir. Armin Marchesini Weihmuller; Argentina)
• Las Visitantes (dir. Yurieth Romero; Colombia)
• Zambra Análogo (dir. Paula Leonvendagar; Chile)

Fantastic WIP

• Extinción (dir. Frank Benitez Peña; Colombia)
• Herança Canibal (dir. Fernando Sanches; Brazil)
• Hiena (dir. Manuel Rodríguez; Mexico)
• Los Malditos (dir. Estefanía Piñeres; Colombia, France)
• Ruta al sol (dir. Jorge Leyva; Mexico)
• Viviendo con los muertos (dir. Nicolás Zukerfeld; Argentina)

Santiago LAB Ficción

• A Medio Camino (dir. Sebastian Gonzalez Mendez; Chile)
• America Libertad (dir. Vanessa Miller; Chile, Sweden)
• Cachalote (Spain, Peru)
• Dedé (dir. Rita Hostt; Argentina, Spain, Uruguay)
• Donde las casas miran al sol (dir. Diego Boggioni; Chile)
• El regreso de Fátima (dir. Gabriela Calvache; Mexico)
• Electra y la ira de los mil titanes (dir. Cris Arredondo; Chile)
• Elisa y Adriana (Colombia)
• La Niña (dir. Sergio Castro San Martín; Bolivia, Chile, Switzerland)
• La Rueda de Chicago (dir. César González Álvarez; Chile)
• Los Otros (dir. Juan Ignacio Ceballos; Argentina)
• Los Profesionales (dir. Ana Milena Saavedra; Colombia)
• Nosara (dir. Victor Vargas; Costa Rica)
• Partir y Renunciar (dir. Marilú Varsky; Argentina)
• Piel (dir. Nicolás Acuña; Argentina, Chile)
• Tejas Corridas (dir. Constanza Tejo Roa; Chile)

Santiago LAB Documental

• 99,99% Los desaparecidos com vida (dir. Marina Belaustegui Keller; Argentina, Brazil)
• Antes de que mueras, sabrás de tus ausencias (dir. Mariana Góngora Reyes; Argentina, Mexico)
• Bajo la cúpula (dir. Bernardo Garay Pringles; Argentina)
• Carniceros de la belleza (dir. Martín Proaño Mattioli; Colombia, Panama)
• Cartas del suelo (dir. Manuel del Médico; Argentina)
• Ciudad doble (dir. Nicolás Molina; Chile)
• Crónica del oblivion (dir. Daniela de Vega; Argentina)
• El sucesor (dir. Bárbara Valdés; Chile)
• La batalla por la Patagonia (dir. Guillermo Helo; Chile)
• La fragilidad de los cangrejos (dir. Sebastian Eguiluz; Chile)
• Matrioska negra (dir. Lilian Solá Santiago; Brazil)
• Mi tía lesbiana me pena (dir. Javi de Miguel; Chile)
• Palabras cifradas (dir. Bárbara Sharp; Chile)
• Próximo centro espacial (dir. Daniel “Torreón” González; Mexico)
• Rebelión de la memoria (dir. Joël Jent; Peru, Switzerland)
• Talia despues de talia (dir. Pedro Speroni; Argentina, France, Switzerland)
• Una niña conoce a otras niñas y juntas a una ballena (dir. Patrica Trochon, Luciana Bindritsch; Uruguay)

Santiago LAB Series

• Asistiré (Mercedes Córdova, Florencia Percia; Argentina)
• Cuero de Chancho (showrunner Valentina Muhr, co-director Alicia Scherson; Chile)
• José Ignacio (Débora Habsbourg; Uruguay)
• La Ira de las Mariposas (Erica Rozek; Argentina)
• Los Asuntos de Martín (Diego Figueroa; Chile)
• Oficina de Detectives (José Luis Rugeles García; Colombia)

Woman in Fan LAB

• Acúfeno (dir. Marcela Fernanda Gueny Psijas; Chile)
• Carnivora (dir. Julieta Morales; Chile)
• La madre perfecta (Uruguay)
• Mira (Uruguay)
• Yolanda (dir. Catalina Sandoval Hidalgo; Chile)

SANFIC Mórbido LAB

• Chupacu (dir. Antonia Baudouin; Brazil)
• L4IK4 (dir. Hermanos Bucher; Chile)
• La Anfitriona (dir. Roberto San Sebastián; Spain)
• Lo que duerme bajo la carne (dir. Javier Attridge; Chile)
• Maldición en Primavera (dir. Pablo Vergara; Argentina)
• Tonalli (dir. Jesus “Chiva” Rodriguez; Mexico)

Incubadora Queer

• Decoración de Interiores (dir. Fer Elías Rioseco Soto; Chile)
• Lo que una chica siente (dir. David Pulido Terán; Mexico)
• Mundo (dir. Jimena Román; Argentina, Paraguay)
• No culpen a la bestia (dir. Luis Diego Pérez Bolaños; Costa Rica, Panama)
• Pulso (dir. Yoksan Xu; Chile)
• Un funeral fantástico (dir. Samara Pérez Santiago; Puerto Rico)

SANFIC Industria ODS LAB

• Chemamüll (dir. Fernanda Calhueque, Sophia Boddenberg; Chile)
• Días que palpitam no escuro (dir. Ana Johann; Brazil)
• El Costo Humano de los Agrotóxicos (dir. Pablo Piovano; Argentina)
• El Proyeccionista (dir. Jason Vital; Colombia)
• Los Otros (dir. Juan Ignacio Ceballos; Argentina)
• Trueque (dir. Igor Virabov; Brazil)

Chile Industry Academy

• Amadis T. Loyer (Chile)
• Ana María Angarita Cubillos (Colombia)
• Celeste Orozco (Argentina)
• Dante Calissano (Argentina)
• Exler Felipe Puerta Velasco (Colombia)
• Gian Bautista Borgetto (Argentina)
• Isabel Barajas (Mexico)
• José Alarcón (Chile)
• Sofía Casarino (Chile)
• Xiommy A. La Hoz

The SANFIC22 lists follow the festival’s online programme at sanfic.com, section by section, with each film’s director and countries as its own film page gives them. SANFIC Educa’s list includes the Animaciones Alemanas shorts programme and Checker Tobi y el viaje a los ríos voladores, which the programme lists alongside the 17 titles the festival announced.

SANFIC22 International Competition

• Ceniza en la boca (dir. Diego Luna; Mexico, Spain)
• A Balcony in Limoges (Un balcon à Limoges (dir. Jérôme Reybaud; France)
• Hysteria (Histeria (dir. Mehmet Akif Büyükatalay; Germany)
• Narciso (dir. Marcelo Martinessi; Paraguay, Brazil, Portugal, Germany, Spain, France, Uruguay)
• Amor es el Monstruo (dir. Neto Villalobos Brenes; Costa Rica, Peru, Panama, Chile, Mexico)
• Relicto (dir. Guillermo Quintero; Colombia, France)
• A Happy Family (dir. Jan-Eric Mack; Switzerland)
• La Lucha (dir. José Alayón; Spain, Colombia)
• Coward (dir. Lukas Dhont; Belgium, France, Netherlands)

SANFIC22 Chilean Cinema Competition

• La muerte te vio volver (dir. Sebastián Cuevas Barria; Chile, France)
• Bloques Erráticos (dir. Thomas Woodroffe; Chile, France, Argentina)
• Latir (dir. Patricio Loutit Azócar; Chile)
• Población Flotante (dir. Carlos Araya Díaz; Chile)
• El Tigre del Este (dir. Jorge Acevedo Carrasco; Chile, Mexico)
• Cuadro Negro (dir. Carolina Adriazola, José Luis Sepúlveda; Chile)
• Rebelión Interior (dir. Sofía Paloma Gomez Vergara; Chile)
• Animales (dir. Andrés Waissbluth Weinstein; Chile, Argentina)
• Monguen (dir. Antonio Caro; Chile)

SANFIC22 National Talent Short Film Competition

• La ciudad de los dioses (dir. Sebastián S Claro; Chile)
• El viento gritó tu nombre (dir. Katalina Urrutia López; Chile)
• Terra (dir. Amadis T. Loyer; Chile, Brazil)
• Reina de Puerto (dir. Ariel Amor; Chile)
• Que no te alcancen los lobos (dir. Josefa Berenguela Araya; Chile)
• Grietas atraviesan este vidrio multicolor (dir. Francisca Ponce González; Chile)
• Réplica (dir. Valentina Andrea Reyes Villarroel; Chile, Mexico)
• El llamado (dir. Peter McPhee; Chile)
• Cuando el sol se apague (dir. Macarena Farías, Matilda Solar; Chile)
• El vuelo de los cóndores (dir. Aukaleb Ankaro; Chile)
• Lejanía (dir. Daniel Velásquez Patarroyo; Chile, Colombia)
• Domingo (dir. Nathalie Kozak; Chile)
• A la orilla de los recuerdos (dir. Manuel Hoppe González; Chile)
• Humedal (dir. Rossana Castillo Mendez; Chile)
• Ruidos Molestos (dir. Felipe Salinas Kraljevic; Chile)
• El final de los tiempos (dir. Mao Osorio, Ismael Morales; Chile)
• #Unboxing (dir. Edo García; Chile, Spain)
• Angélica (dir. Dante Enrique Arroyo González; Chile)
• Retrato de una memoria (dir. Constanza Cerpa Vargas; Chile)
• La culpa es del cine (dir. Eduardo Andrés Rivera Aburto; Chile)
• El destello de las lágrimas (dir. Ignacio Gómez Prado; Chile)

SANFIC22 Maestros del Cine

• Minotaur (dir. Andrey Zvyagintsev; France, Germany, Latvia)
• The Fence (dir. Claire Denis; France)
• Silent Friend (dir. Ildikó Enyedi; Germany, France, Hungary)
• The Stranger (dir. François Ozon; France, Belgium, Morocco)
• The Man I Love (dir. Ira Sachs; US, France)
• Duse (dir. Pietro Marcello; Italy, France)
• Paper Tiger (dir. James Gray; US)
• Fjord (dir. Cristian Mungiu; Romania, France, Norway, Sweden, Denmark)

SANFIC22 Visiones del Mundo

• Los Justos (dir. Jorge A. Lara, Fernando Pérez; Spain)
• Rumor (dir. Joana Nin; Brazil)
• Un Reino Imaginado (dir. Belén Abarza, Eduardo Bunster; Chile, Spain)
• El gran arco (dir. Stéphane Demoustier; France)
• Recuerdo tu nombre (dir. Silvia Venegas; Spain)
• Mi nueva forma de ver (dir. Lucía Gaviglio Salkind, Andrés Varela; Uruguay, Netherlands)
• A Useful Ghost (dir. Ratchapoom Boonbunchachoke; Thailand, France, Singapore, Germany)
• Bailando Solo (dir. Gilberto González Penilla; Mexico)
• Viajero Inmóvil (dir. Fernando Lavanderos, Sebastián Pereira; Chile)

SANFIC22 Directoras en Foco

• Wilma quiere más (dir. Maren-Kea Freese; Germany)
• El lugar de la ausencia (dir. Marialuisa Ernst; US, Bolivia, Chile, Mexico)
• El Vuelo de la Cigueña (dir. Soumaya Hidalgo, Berta Vicente Salas; Spain, Brazil, Qatar)
• Sagrado (dir. Alice Riff; Brazil)

SANFIC22 Special Screenings

• El cuerpo como tiempo (dir. Patricia Rivadeneira; Chile)
• Winnipeg, el barco de la esperanza (dir. Beñat Beitia, Elio Quiroga; Spain, Chile, Argentina)
• Los Relatos (dir. Miguel del Arco; Spain)
• Historias sobrenaturales (dir. Mauricio Corco; Chile)

SANFIC22 Antonia Zegers retrospective

• Los Perros (dir. Marcela Said; Chile, France, Argentina, Germany, Portugal)
• El Club (dir. Pablo Larraín; Chile)
• El Castigo (dir. Matías Bize; Chile, Argentina)
• Post Mortem (dir. Pablo Larraín; Chile, Mexico, Germany)
• Una Mujer Fantástica (dir. Sebastián Lelio; Chile, Germany, Spain)

SANFIC Educa

• Mum don’t love me no mo’ (dir. Grégory Lucilly; France)
• Lulina and the moon (dir. Alois Di Leo, Marcus Vinícius Vasconcelos; Brazil)
• Mon Inseparable (dir. Anne-Sophie Bailly; France)
• Secreto de Cabeza (dir. Matía Lorenzo; Chile)
• My little girl (dir. Chloé Jouannet; France)
• La pena no duerme de noche (dir. Martín André, Josefina Montino; Chile)
• Animaciones Alemanas (dir. Nazgol Emami, Falk Schuster, Elena Walf, Antje Heyn; Germany)
• El Oficio Divino (dir. Lorena Lisotti; Mexico)
• El festín de las bestias (dir. Simón Bucher, Claudia Saldivia, Amanda Rivera; Chile)
• Dalia y el libro rojo (dir. David Bisbano; Peru, Spain, Brazil, Colombia, Ecuador)
• Los Carpinchos (dir. Alfredo Soderguit; France, Uruguay, Chile)
• Checker Tobi y el viaje a los ríos voladores (dir. Johannes Honsell; Germany)
• Auxiliary (dir. Lucas Bacle; France)
• Shadows (dir. Rand Beiruty; France, Jordan)
• Petra y el sol (dir. Malu Furche, Stefania Malacchini; Chile)
• Cuando sea grande (dir. Pamela López Hernández; Mexico)
• Winners (dir. Soleen Yusef; Germany)
• Niño de Circo (dir. Anna Koch, Julia Lemke; Germany)

Sources

• SANFIC Industria, Catálogo (official selection of all calls, 2026)
• SANFIC Industria, WIP Iberoamericano (call terms, prizes and selected projects)
• SANFIC Industria, Fantastic WIP (call terms and prizes)
• SANFIC Industria, Santiago LAB Ficción (call terms and prizes)
• SANFIC Industria, Santiago LAB Documental (call terms and prizes)
• SANFIC Industria, Santiago LAB Series (call terms and prizes)
• SANFIC Industria, Premios
• SANFIC Industria, home page (dates and history)
• SANFIC, SANFIC22 programme announcement (20 October 2026)
• LatAm cinema, WIP de SANFIC Industria enriquece el mapa del cine iberoamericano con ocho nuevas historias
• Variety, Sanfic Industria Projects (interview with Gabriela Sandoval, 2 November 2026)
• SANFIC, SANFIC22 online programme (all sections, film pages with directors and countries)
• SANFIC, update on Diego Luna's participation (26 October 2026)
• SANFIC, Talento Nacional short film selection (6 October 2026)
• SANFIC Industria, Incubadora Queer (call terms, Netflix prize and selected projects)
• SANFIC Industria, SANFIC Mórbido LAB (call terms and prizes)
• SANFIC Industria, SANFIC Industria ODS LAB (call terms and prizes)
• SANFIC Industria, Chile Industry Academy (call terms and participants)
• SANFIC Industria, Books at Berlinale 2027 (call terms)