● A comparative analysis between Europe, Canada, and Colombia, conducted in 2023 by Fundación Santiago Creativo, identifies that Chile’s audiovisual production and commercialization model requires an urgent update. The study proposes advancing toward a new stage in the development of the audiovisual sector, incorporating territorial tax incentives and a long-term strategy similar to the one implemented 20 years ago, which enabled significant achievements during the first stage.
● “We felt a public responsibility and a genuine interest in offering Chile a comparative analysis of territories that have successfully aligned their audiovisual industries with long-term public policies,” says Leonardo Ordóñez, Executive Director of Fundación Santiago Creativo and Strategic Advisor to the Málaga Festival Fund Co-Production Event.
Santiago, February 2026.—
Chile’s audiovisual sector currently boasts widely recognized talent, accustomed to receiving international awards, and produces content that is highly valued globally. However, according to Leonardo Ordóñez — an expert in creative economy, co-founder of Chile’s Council for Art and the Audiovisual Industry, researcher, and cultural manager — the country is facing a turning point: the support model that helped rebuild the sector after the dictatorship is now showing signs of exhaustion.
This is evidenced by a series of studies carried out within the framework of the project “Toward Public Policies of Tax Incentives for Audiovisual Production and Co-Production to Promote Cooperative Models, Boost Regional Development, and Reactivate the Chilean Audiovisual Industry”. The project, funded by the Ministry of Cultures, the Arts and Heritage, analyzed three key territories — Europe, Canada, and Colombia — to identify public policies, financing models, and tax incentives capable of revitalizing the audiovisual industry.
Three Territories, Three Development Models
The study first focused on European countries with a long-standing tradition of tax incentives — policies that have not only endured over time but have also been refined and expanded. “In Europe, there are long-established policies that have continuously evolved and improved, and even new ones have emerged post-pandemic,” explains Ordóñez.
A second focus was Canada, highlighted as an example of a country that has leveraged its territory to serve the global audiovisual industry, attracting international productions through province-specific incentives. “Many North American productions choose to film in Canada because of territorial advantages and incentives linked to specific provinces,” he notes.
The study also examined Colombia, emphasizing its ability to ensure continuity in audiovisual public policies and to learn through trial and error. “Colombia did its homework by giving continuity to its processes and nurturing an ecosystem that today attracts international productions,” says Ordóñez.
Tax Incentives: A Pending Debt in Chile
One of the study’s main findings is the absence of territorial tax incentives in Chile — a key tool for attracting investment and strengthening national production. “Today in Chile, the only mechanism available is public funding through competitive grants. Chilean producers have little else to offer when seeking international partners,” Ordóñez warns.
Furthermore, the study reveals that in many countries incentives are not limited to audiovisual activities but extend to the broader creative industries. “In the United Kingdom, for example, tax incentives are available for performing arts, music, visual arts, and audiovisual production. There is no discrimination by discipline,” he explains.
Professionalization and Regional Development
Beyond financing, Ordóñez underscores the importance of a professionalized industry with clear business strategies: “Globally, we speak of production companies, not individual producers. Production companies have strategies, business models, and incorporate territorial support into their plans”.
The research also highlights the relevance of regional policies, as seen in Spain, where incentives vary by territory. “Filming in the Canary Islands is not the same as filming in Andalusia or the Basque Country. That generates very interesting dynamics of collaboration among producers,” Ordóñez explains.
An Ecosystem Showing Signs of Exhaustion
For the Executive Director of Fundación Santiago Creativo, the underlying issue is that Chile has not progressed toward a second stage of industrial audiovisual development. “The first stage is well established, but today it is in decline. The entire sector is competing for public funds because it is the only financing channel available”, he states.
On the same matter, he adds: “It is highly commendable that some Chilean production companies that began producing their first titles more than 20 years ago are still active today. However, given that sustaining those companies is currently costly, the ecosystem needs to be strengthened to support both these companies and the new ones that have joined the field. What is the point if two or three companies succeed but the entire sector does not?”.
The positive impact of the Audiovisual Promotion Law and the consolidation of major production companies demonstrate a successful reconstruction of a creative industry sector in Chile. However, he warns that an industry cannot be sustained if only a few individual companies achieve stability. What is needed is a comprehensive strategy, with implementation and measurement from a collective perspective — one in which territories play a fundamental role.
Toward a New Stage of Audiovisual Development
The study stresses the urgency of moving toward differentiated policies by genre — documentary, fiction, and animation — and of establishing territorial tax incentives as a common framework for the sector. “Chile needs to create a second or third stage of industrial development, with incentives that attract investment, generate employment, and strengthen human capital”, Ordóñez argues.
In his view, this step is crucial not only for film and documentary, but also for television, advertising, video games, and digital content. In other words, having award-winning stories is not enough. “We are talking about economics, industrial development, and jobs”, he emphasizes.
DOWNLOAD THE STUDIES
● Políticas públicas de incentivos fiscales para el sector audiovisual de Europa, Canadá y Colombia.
● Análisis del discurso de informantes clave de Europa, Canadá y Colombia expertos internacionales y personas emprendedoras, reconocimiento del ecosistema audiovisual.
● Análisis del discurso de personas emprendedoras sobre subjetividades, grupos focales.
● Experiencias de cooperativas del sector audiovisual a nivel internacional.
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