The Chilean triumph at Cannes

Chile’s presence at one of the most important film festivals of the world was marked by premieres, standing ovations and new relationships of international audiovisual cooperation.


If 2015 was a positive year for Chilean cinema, winning two Silver Bears at Berlinale and one Oscar, 2016 seems to be another year full of victories. The premieres of filmmakers Pablo Larraín and Alejandro Jodorowsky at the Director’s Fortnight were the only Latin American representatives of the event, both embraced with ovations.

According to the international press, Larraín’s film “Neruda” has been considered as the best production of his career, next to films like “El Club”, which was nominated at the Golden Globes and two other nominations for the Berlin Film Festival (where it won the Grand Jury Prize), and “No”, a 2012 production that was nominated for an Oscars for Best Foreign Language Film. The new film by Larraín follows the story of Pablo Neruda, who suffered from political persecution during the rule of Gabriel González Videla, in a period of tension between the government and the Communist Party, since he was a member. This period of his life will not only be marked by persecution, but also by one of his greatest works, his Canto General.

Furthermore, the Cannes Film Festival has proved to be a promising space for the future development of audiovisual cooperation between Chile and other countries. This way, in the context of this festival, our country managed to strengthen relationships with Argentina, Brasil, Italy, Belgium and Croatia. This is how Chilean cinema keeps gaining a place in the international market.

However, Larraín is not the only Chilean artist releasing films in Cannes. The filmmaker Alejandro Jodorowsky also premiered his film “Endless Poetry”, in which he portraits the cultural and bohemian life in Santiago by the 1950’s. Jodorowsky’s narrative follows his own story (his role being played by his son, Adán Jodorowsky) and the interections he had with other relevant figures of the national cultural scene of that time, such as Stella Díaz Varín and Enrique Lihn. Jodorowsky’s film received a standing ovations which lasted around 10 minutes after the film was shown at the French city festival.

Hence, the national presence at the sixty nineth version of one of the most important film festivals of the world has been already considered a success by the members of the Chilean delegation, which includes representatives from the Consejo Nacional de la Cultura y las Artes, ProChile and CinemaChile, among others.