Like many of its counterparts worldwide, the Santiago International Film Festival (Sanfic) has been amping up its support for television shows. On Aug.18, it’s proudly screening two episodes of “Hidden Island” (“Isla Oculta”), a project that went through its Sanfic Series Lab and is one of the most highly anticipated series from Chile. The closed screening for invited guests is followed by one open to the public on Aug. 21.
Its trailer, viewed by tens of thousands on YouTube (65,000 and counting), has only fueled more interest in the sci-fi thriller series, which already picked up an award at Italy’s Global Series Festival last June. The trailer opens to the voice of a ship’s captain who is warning of “strange things happening.” It is later reported to have vanished. Then the daughter of a Mexican journalist most threatened by the cartels also vanishes. A female detective reluctantly returns to the place she left 30 years ago to find the girl. The question is whether she was harmed by the cartels to get back at her father or did she vanish, as others have, while seeking the legendary Friendship Island.
Curated by Argentina’s Agustina Lumi and Alejandra Marano since its inception six years ago, the Sanfic Series Lab has evolved into a vital program for many TV projects in their development trajectory.
Some 80 submissions responded to Sanfic Lab’s Open Call, making selection even more daunting. “In general, we review the selected projects, but we usually look at twice that number because we have agreements with various series-focused platforms around the world. So, we’re not only looking at projects that come through the open call, but also through other industry spaces related to series. Basically, we never stop—we spend the entire year watching series, all day long,” said Lumi.
Eight titles made the cut, some of which already came from other development programs where they won fast tracks to Sanfic Lab.
“Each of the projects has something unique to share, something that allows it to travel, to tell stories that may be local but resonate globally or in different markets. That’s what we were looking for: projects that have the potential to go international and that are truly unique, with a distinctive voice,” Lumi noted, adding that they also consider the track record of the producers and creators behind the projects.
“We closely follow talent—that’s very true. We pay a lot of attention to the teams behind the projects,” Marano concurred, citing International Emmy winner Hernán Caffiero (“The Suspended Mourning,” “Raza Brava”) who participates in the lab with the fact-based “The Craft of Thieves” (“El Internacional”) as well as writers/creators Luciana Porchietto and Mariana Levy participating with convent-based dramedy skein “Amen, Bárbara” whose “Menem,” is a recent buzz title on Prime Video. Both agree that the quality of the projects over the past six editions have only increased exponentially.
“Selecting series is more challenging when it’s not about exhibition but about development. You have to know when to choose a project, when to invite it or when to select it for a lab—making sure it’s at the right stage. The good thing is that, if timed well, you can really help the project instead of unintentionally holding it back,” Lumi mused.
The training and acceleration program focuses on the internationalization of projects and all the key elements involved in selling them—especially helping teams improve how they package and pitch their projects, better understand their audiences and analyze successful (or not so successful) cases of similar series.
Added Marano: “Each project receives individual one-on-one mentorship sessions. Then they participate in a masterclass on audiences, another on sustainability, focused on sustainable audiovisual production with an eco-vision. We also host keynotes with production companies that have already released projects on major platforms, so participants can engage in dialogues with them. It’s an opportunity for exchange—not necessarily direct advice, but definitely the sharing of experience.”
The 21st Sanfic runs over Aug 17-24.
A Drill Down on the Selected Projects:
“Amen, Bárbara” (“El Evangelio según Bárbara,” Luciana Porchietto and Mariana Levy, Argentina)
Created and written by Porchietto and Levy, writers of “Menem, the President Show,” now out on Prime Video. The story follows Bárbara, rebellious and broke, who fakes her way into a convent for a private room and some peace—only to find herself on an unexpected spiritual journey. “We believe this is a timely, highly adaptable project that could be shot in any Latin American or southern European city — places where two key elements intersect: a strong Catholic presence and a profound housing crisis.” The creators describe Bárbara’s loneliness as universal: “Like [Netflix’s] ‘Unorthodox’ — though in reverse — this is the story of a lost young woman navigating a unique, cloistered universe.” “’Amen, Bárbara’ speaks to a generation left out of the housing market, working gig jobs and craving real connection. As agnostics, we are also intrigued by the return of certain humanitarian values to Catholicism under Pope Francis — the idea of the Church as a place for the outcast. That contradiction felt like a story we had to tell.”
“The Unwelcome” (“Allegados,” Oscar Chamo Godoy, María José San Martín, Andrés Martínez-Ríos, Chile, Mexico)
In advanced development. Set in 1980s Chile, it follows a 16-year-old boy who finds solace from his troubled home life through writing and drawing a vampire story in his school notebook. Chile’s Alfredo Castro (“The Count”), Paulina Garcia(“Gloria”) and Benjamín Vicuña (“Envious”) have boarded the upcoming series while the search is still underway for someone to play the young teen. The 8-episode series is set to shoot in the second half of 2026. Recent deals include sound post-production with Yagán Films (Chile) and image post-production with Chemistry, México led by Andrés Martínez-Ríos who has been invited to direct a few episodes alongside Oscar Chamo Godoy and María José San Martín. Author-screenwriter Ernesto Garratt says he had always wanted to adapt his own books: “I aim to challenge the elitist perception of Chilean cinema by crafting more engaging and realistic narratives that incorporate magical realism and fantasy, thereby bridging the gap between cinema and audiences and shedding light on harsh social realities.”
The Unwelcome, Courtesy of Sanfic
“Architects From the Global South,” (“Arquitectas del Sur del Mundo,” Ana Cristina Barragán, Chile, Colombia)
The documentary series written by Maria Court explores the lives and visions of leading female architects across Latin America. Each episode, directed by a local filmmaker, delves into their creative processes and addresses themes such as gender, ecology and indigenous knowledge, revealing the continent’s cultural and architectural richness. Produced by Chile’s Clara Films, founded in 2018 by Clara Larraín, the only Chilean woman to win the Marché du Film’s Promising Producer Award. Series is co-produced with Productora LAP (Colombia). Confirmed architects include Cazú Zegers (Chile) and Ana María Durán (Ecuador). Filming begins in December 2026, with development support from Sanfic Lab and Max Belo Horizonte, which confirmed two TV windows. A recent investment agreement was signed with Cazú Arquitectos for the Chilean episode. Says Larrain: “Since I was a child, I have witnessed the work of my mother, Cazú Zegers, and her unique way of combining architecture, poetry and landscape, blazing a trail as a woman in a male-dominated field. Inspired by her journey and that of other Latin American architects, I want to document this generation that is breaking down gender and territorial barriers, designing spaces from an ecofeminist perspective that respects nature and champions local knowledge.”
Architects from the Global South, Courtesy of Sanfic
“The Adventures of Picuy” (“Las Picuy Aventuras,” Nathaly Castillo, Colombia)
An animated children’s series produced by La Comarca Producciones, based in Pasto, southern Colombia and led by Danny Benavides, Paulo Cabrera and Nathaly Castillo, the story follows Senubia, a 5-year-old girl who, while visiting her grandmother and her friend Olmedo Picuy, discovers the magical powers of a ruana [a poncho-style cape] that transforms them into various plants, animals and objects. Currently in the production phase of its second episode, the project also includes 20 complementary audiovisual capsules aimed at broadening its narrative reach. These will soon be broadcast on Telepasto, a regional channel. La Comarca Producciones, founded in 2003, has a history of cultural work and is dedicated to promoting audiovisual projects that highlight real-life experiences and cultural identity. According to screenwriter Danny Benavides, “This project invites children into a world where rural life holds valuable knowledge, helping them imagine, learn and grow with purpose.” The series combines puppetry, animation and local landscapes to offer unique storytelling with cultural depth. “It’s a commitment to imagining from a place of sensitivity and collectivity,” says Castillo.
The Adventures of Picuy, Courtesy of Sanfic
“The White Wolves” (“Los lobos blancos” Ángel Barroeta, Colombia, Venezuela, U.S.)
A visceral, high-stakes drama set in Petare, one of Latin America’s most dangerous slums. It follows Catire Blanco, a young mechanic who defies the barrio’s sacred rule of never fighting back, drawing his family into a violent conflict with ruthless gangs and corrupt cops. As the situation spirals out of control, the Blanco family must choose between survival and vengeance. The series is a collaboration between L.A.-based Beach House Films, led by Venezuelan actor-filmmaker Raul Walder, and Navaja Pictures, founded by the project’s creator, writer and producer Ángel Barroeta, based in Miami and Venezuela. Both companies are known for their bold, emotionally charged narratives. “This is the Latin America that’s fighting to be heard – raw, wounded and burning,” says Walder, creator and producer. Barroeta adds, “We’ve seen cartels and narcos, but never a story like this—told from inside the barrio, with real heart, vulnerability and cinematic ambition.” “The White Wolves” has already earned recognition at Filmarket Hub, Santa Barbara and ScreenCraft, positioning it as a powerful narrative about family, dignity and the cost of freedom.
The White Wolves, Courtesy of Sanfic
“The Craft of Thieves” (“El Internacional,” Hernán Caffiero, Chile)
Based on actual events, drama about Ronald Zúñiga, a young man who defies his father and becomes an international thief. After his friend Laucha Quintanilla is arrested in Europe and blames Ronald, a violent conflict erupts between the Zúñiga family, involved in theft, and the Quintanilla family, entangled in drug trafficking. Ronald returns to Chile to defend his family’s honor and confront his enemies. The series is produced by DeCulto, a new Santiago-based company founded by Hernán Caffiero, with co-production from Tridi Films. “The ‘Craft of Thieves’ is a raw and human depiction of violence as a cycle,” says executive producer Paula Guzmán, “It explores the cost of success in marginalized contexts.” Project has already secured funding from the Chilean Ministry of Culture’s Audiovisual Promotion Fund. 40% of the series will be filmed in Spain, with shooting scheduled for the second half of 2026. “Through Ronald Zúñiga, we portray the dilemmas, loyalties and risks faced by young people in vulnerable environments,” says Caffiero.
“Tourette” (“Tourette,” Camilo Fonseca and Andrés Sánchez Belzunces, Colombia)
From La Guapa, an independent film and series production company based in Colombia and Spain, founded by Camilo Fonseca. The company specializes in developing high-concept, hard-hitting, provocative and boundary-pushing stories, it explains. Created by Fonseca and Andrés Sánchez Belzunces, “Tourette” follows Salva, who, after being fired from a major ad agency in Mexico for an offensive outburst, fakes Tourette’s Syndrome to regain his job. His plan backfires as he becomes a viral symbol of political correctness and his life spirals when he meets Lucía, a woman with OCD. The series is currently in development, with shooting dates and casting to be determined. It has already garnered recognition, winning the Sanfic Prize, BAM Prize and Peris Costumes Prize at Conecta Ficción 2025. “‘Tourette’ is a politically incorrect comedy about political correctness. It flips outrage culture on its head and dares to laugh at the lies we tell to fit in. Bold, uncomfortable and painfully timely,” says Fonseca.
“Useless Skills” (“Las Habilidades Inútiles,” Gabriel Dalla Torre and Lucia Bracelis, Argentina)
From El Generador, an audiovisual production company based in Mendoza, Argentina, with over 15 years of experience in both documentary and fiction, including series and feature films. The company focuses on telling inspiring stories and developing innovative ideas across film, TV, and multiplatform formats. Currently offers services in sound design, editing, color correction, co-Working spaces and production rental.
El Generador’s productions have earned national and international acclaim, winning awards at various festivals and funds and being distributed in the U.S., China, Portugal, U.K. and Greece. “Useless Skills” is an existential crime story that delves into the effects of prohibition, death and societal boundaries, exploring how opposites attract. The screenwriters, Gabriel Dalla Torre and Lucia Bracelis, along with producers Cecilia Agüero and Gisela Levin, aim to create a narrative that blends dark humor and tension. Although the director and cast have yet to be selected, the novel on which the series is based won the Best Novel Award from the City of Mendoza. “We champion works that challenge norms through complex characters and bold perspectives – values this series amplifies with its daring tone,” say Agüero and Levin.