{"id":7592,"date":"2026-02-27T10:41:28","date_gmt":"2026-02-27T13:41:28","guid":{"rendered":"https:\/\/www.chiledoc.cl\/en\/?p=7592"},"modified":"2026-02-27T10:41:28","modified_gmt":"2026-02-27T13:41:28","slug":"study-reveals-gaps-and-opportunities-for-the-development-of-audiovisual-incentives-in-chile","status":"publish","type":"post","link":"https:\/\/www.chiledoc.cl\/en\/study-reveals-gaps-and-opportunities-for-the-development-of-audiovisual-incentives-in-chile\/","title":{"rendered":"Study Reveals Gaps and Opportunities for the Development of Audiovisual Incentives in Chile"},"content":{"rendered":"

\u25cf A comparative analysis between Europe, Canada, and Colombia<\/strong>, conducted in 2023 by Fundaci\u00f3n Santiago Creativo<\/strong>, identifies that Chile\u2019s audiovisual production and commercialization model requires an urgent update<\/strong>. The study proposes advancing toward a new stage in the development of the audiovisual sector, incorporating territorial tax incentives and a long-term strategy<\/strong> similar to the one implemented 20 years ago, which enabled significant achievements during the first stage.<\/p>\n

\u25cf \u201cWe felt a public responsibility and a genuine interest in offering Chile a comparative analysis of territories<\/strong> that have successfully aligned their audiovisual industries with long-term public policies,\u201d says Leonardo Ord\u00f3\u00f1ez, Executive Director of Fundaci\u00f3n Santiago Creativo and Strategic Advisor to the M\u00e1laga Festival Fund Co-Production Event<\/strong>.<\/p>\n

Santiago, February 2026.\u2014<\/em><\/p>\n

\"\"<\/p>\n

Chile\u2019s audiovisual sector currently boasts widely recognized talent, accustomed to receiving international awards, and produces content that is highly valued globally. However, according to Leonardo Ord\u00f3\u00f1ez \u2014 an expert in creative economy, co-founder of Chile\u2019s Council for Art and the Audiovisual Industry, researcher, and cultural manager \u2014 the country is facing a turning point<\/strong>: the support model that helped rebuild the sector after the dictatorship is now showing signs of exhaustion<\/strong>.<\/p>\n

This is evidenced by a series of studies carried out within the framework of the project \u201cToward Public Policies of Tax Incentives for Audiovisual Production and Co-Production to Promote Cooperative Models, Boost Regional Development, and Reactivate the Chilean Audiovisual Industry<\/em>\u201d. The project, funded by the Ministry of Cultures, the Arts and Heritage<\/strong>, analyzed three key territories \u2014 Europe, Canada, and Colombia \u2014 to identify public policies, financing models, and tax incentives<\/strong> capable of revitalizing the audiovisual industry.<\/p>\n

Three Territories, Three Development Models<\/strong><\/p>\n

The study first focused on European countries<\/strong> with a long-standing tradition of tax incentives \u2014 policies that have not only endured over time<\/strong> but have also been refined and expanded. \u201cIn Europe, there are long-established policies that have continuously evolved and improved<\/strong>, and even new ones have emerged post-pandemic,\u201d explains Ord\u00f3\u00f1ez.<\/p>\n

A second focus was Canada<\/strong>, highlighted as an example of a country that has leveraged its territory to serve the global audiovisual industry, attracting international productions<\/strong> through province-specific incentives. \u201cMany North American productions choose to film in Canada because of territorial advantages and incentives linked to specific provinces,\u201d he notes.<\/p>\n

The study also examined Colombia<\/strong>, emphasizing its ability to ensure continuity in audiovisual public policies<\/strong> and to learn through trial and error. \u201cColombia did its homework by giving continuity to its processes and nurturing an ecosystem that today attracts international productions<\/strong>,\u201d says Ord\u00f3\u00f1ez.<\/p>\n

Tax Incentives: A Pending Debt in Chile<\/strong><\/p>\n

One of the study\u2019s main findings is the absence of territorial tax incentives in Chile<\/strong> \u2014 a key tool for attracting investment and strengthening national production. \u201cToday in Chile, the only mechanism available is public funding<\/strong> through competitive grants. Chilean producers have little else to offer when seeking international partners,\u201d Ord\u00f3\u00f1ez warns.<\/p>\n

Furthermore, the study reveals that in many countries incentives are not limited to audiovisual activities<\/strong> but extend to the broader creative industries. \u201cIn the United Kingdom, for example, tax incentives are available for performing arts, music, visual arts, and audiovisual production. There is no discrimination by discipline,\u201d he explains.<\/p>\n

Professionalization and Regional Development<\/strong><\/p>\n

Beyond financing, Ord\u00f3\u00f1ez underscores the importance of a professionalized industry with clear business strategies<\/strong>: \u201cGlobally, we speak of production companies, not individual producers. Production companies have strategies, business models, and incorporate territorial support<\/strong> into their plans\u201d.<\/p>\n

The research also highlights the relevance of regional policies, as seen in Spain, where incentives vary by territory. \u201cFilming 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,\u201d Ord\u00f3\u00f1ez explains.<\/p>\n

An Ecosystem Showing Signs of Exhaustion<\/strong><\/p>\n

For the Executive Director of Fundaci\u00f3n Santiago Creativo, the underlying issue is that Chile has not progressed toward a second stage of industrial audiovisual development<\/strong>. \u201cThe 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<\/strong>\u201d, he states.<\/p>\n

On the same matter, he adds: \u201cIt 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<\/strong> that have joined the field. What is the point if two or three companies succeed but the entire sector does not?<\/strong>\u201d.<\/p>\n

The positive impact of the Audiovisual Promotion Law and the consolidation of major production companies<\/strong> demonstrate a successful reconstruction of a creative industry sector<\/strong> 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<\/strong> \u2014 one in which territories play a fundamental role.<\/p>\n

Toward a New Stage of Audiovisual Development<\/strong><\/p>\n

The study stresses the urgency of moving toward differentiated policies by genre \u2014 documentary, fiction, and animation \u2014 <\/strong>and of establishing territorial tax incentives as a common framework for the sector. \u201cChile needs to create a second or third stage of industrial development, with incentives that attract investment, generate employment, and strengthen human capital<\/strong>\u201d, Ord\u00f3\u00f1ez argues.<\/p>\n

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. \u201cWe are talking about economics, industrial development, and jobs<\/strong>\u201d, he emphasizes.<\/p>\n

DOWNLOAD THE STUDIES<\/strong><\/p>\n

\u25cf Pol\u00edticas p\u00fablicas de incentivos fiscales para el sector audiovisual de Europa, Canad\u00e1 y Colombia.<\/a>
\n\u25cf An\u00e1lisis del discurso de informantes clave de Europa, Canad\u00e1 y Colombia expertos internacionales y personas emprendedoras, reconocimiento del ecosistema audiovisual.<\/a>
\n\u25cf An\u00e1lisis del discurso de personas emprendedoras sobre subjetividades, grupos focales.<\/a>
\n\u25cf Experiencias de cooperativas del sector audiovisual a nivel internacional.<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

\u25cf A comparative analysis between Europe, Canada, and Colombia, conducted in 2023 by Fundaci\u00f3n Santiago Creativo, identifies that Chile\u2019s 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 […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/posts\/7592"}],"collection":[{"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/comments?post=7592"}],"version-history":[{"count":3,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/posts\/7592\/revisions"}],"predecessor-version":[{"id":7601,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/posts\/7592\/revisions\/7601"}],"wp:attachment":[{"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/media?parent=7592"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/categories?post=7592"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/tags?post=7592"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}