Tag: Entertainment-Variety

“The Super Mario Galaxy Movie” easily retained its box office crown in its third weekend of release, topping the charts with $35 million. The Universal and Illumination release is already the year’s highest-grossing film, having earned $355.2 million domestically and $747.5 million globally, and seems destined to eclipse the $1 billion mark worldwide. At the rate, expect the studios to get more Mario into production as fast as they can level up and Nintendo will allow it.

Amazon MGM Studios’ “Project Hail Mary” also shone brightly in its fifth weekend of release, picking up $20.5 million for a second place finish. That brings the sci-fi adventure’s domestic gross to a stellar $285.1 million. However, the continued success of “The Super Mario Galaxy Movie” and “Project Hail Mary” made it difficult for newcomers to gain much traction.

“Lee Cronin’s The Mummy” had to settle for third in its debut weekend, earning a so-so $13.5 million. The Warner Bros. and New Line release didn’t cost much to make, carrying a budget of $22 million, but its final tally will be a far cry from the nearly $150 million that Cronin’s 2023 film “Evil Dead Rise” collected. Horror maestros James Wan and Jason Blum produced “The Mummy” through their production banners, Atomic Monster and Blumhouse Productions, and it continues their run of monster movies, falling somewhere between 2020’s well-received “The Invisible Man” ($144.5 million globally) and 2025’s lamentable “Wolf Man” ($35.2 million globally).

The weekend’s other new wide release, Magnolia’s “Normal,” took seventh place, earning $2.5 million. The action film stars Bob Odenkirk as a small town sheriff who stumbles on a larger conspiracy following a local bank robbery. Ben Wheatley, who has developed a reputation for boundary pushing ultra-violence with the likes of “Free Fire” and “High Rise,” directs.

In its third weekend of release, A24’s buzzy relationship comedy “The Drama” took fourth place, earning $4.8 million. The indie film, which stars Zendaya and Robert Pattinson, has earned an impressive $39.7 million. That’s good news, because Zendaya and Pattinson will appear together in three films this year, popping up in “Dune: Part Three” and “The Odyssey,” not that those blockbuster films will rise or fall on their chemistry alone.

Rounding out the top five, Universal’s rom-com “You, Me & Tuscany” picked up $3.8 million to bring its haul to $14.4 million after two weeks in theaters. In limited release, Focus Features’ “Lorne,” a documentary about “SNL” creator Lorne Michaels, debuted to $270,000 from 415 theaters, while A24’s “Mother Mary, earned $168,063 from just five locations.

The Strokes ended their performance on weekend 2 of Coachella on a note of political protest, capping the set with a video montage that accused the CIA of enacting regime change in foreign countries over the decades, finally concluding with footage of Israel bombing Gaza and the United States bombing Iran.

These several minutes of video commentary came as a surprise to audiences viewing at home as well as in the desert, since it bore no resemblance to how the group rounded out its set the previous weekend. The song that accompanied this statement, “Oblivius,” had not been performed by the Strokes in concert at all since 2016; it included singer Julian Casablancas repeating the statement in the chorus, “What side you standing on?”

As the Strokes wrapped up their final number Saturday night, performing in front of an illuminated mosque backdrop, the footage on the huge LED screens behind them portrayed recent American bombings in the Middle East with the large caption “Over 30 universities destroyed in Iran” — followed by another video clip of a large building in Gaza being destroyed in a controlled explosion, with the caption: “Last university standing in Gaza.”

Most of the long montage took issue with what the band presented as America’s historic misdeeds, from the era of slavery up through America’s missile strikes in Iran. But bringing the Israeli/Palestinian conflict into it at the end was notable, given how the biggest controversy at last year’s Coachella had to do with the group Kneecap using its set to condemn Israel for military actions in the Middle East, albeit in more profane terms.

A fan who posted video of the climax on X wrote: “This was the moment the Strokes ensured they’ll never set foot in Coachella again! I’m so proud of them.” But it seems like a long shot the group will be subject to any such blacklisting, with the Strokes already booked to headline Goldenvoice’s next Southern California festival in August.

Unlike the Kneecap proclamations and video that appeared to take Coachella organizers aback in 2025, the festival appeared to be ready for and accepting of presenting the Strokes’ political statement, with long shots in the live video feed on YouTube making all of the group’s footage clearly visible.

The bulk of the Strokes’ video montage had to do with assertions that the CIA has been responsible for overthrowing governments in South America or even assassinating leaders — along with giving voice to the conspiracy theory that the U.S. was involved domestically in the assassination of civil rights leader Martin Luther King Jr. After showing an image of King, a caption read: “US govt found guilty of his murder in civil trial.” (The trial referenced took place in 1999, and was followed by the Justice Department declaring in 2000 that there was no evidence to lend validity to the jury’s verdict.)

Among the other accusations of secret U.S. intervention over the years, the Strokes’ video asserted that the CIA was suspected of involvement in the 1981 plane crashes that killed Panamanian president Omar Torrijos and the president of Ecuador (spelled “Equador” on screen), Jaime Rondos, as well as involved in the overthrow of figures from Iranian prime minister Mohammed Mossadegh in 1953 to Chilean president Salvador Alende in 1973 and Bolivian president Juan Torres in 1976.

Following the climactic portrayal of bombings in Iran and Gaza, the Strokes’ video montage ended with a shot of a bomber plane in the air, as the song abruptly ended.

Much of the reaction to the band’s video commentary at Coachella among their fans was initially positive, with statements on their Instagram posts like “Thank you so much for using your stage to highlight Gaza and Iran and Latin America” and “Amazing show and a bombshell of reality at the end!”

Reaction among pro-Israel music fans and conservative U.S. fans may grow as clips of the performance are further disseminated on social media Sunday. Most followers of the Strokes, however, are likely to be aware of Casablancas’ past support for Palestine, as he signed a 2021 “Musicians for Palestine” letter.

Following the group’s Weekend 1 appearance, the Strokes announced a world tour that will begin in June and run through the fall. It includes an L.A.-area headlining appearance in August at the Just Like Heaven festival at Brookside at the Rose Bowl in Pasadena, produced by Goldenvoice, which also produces Coachella.

Hollywood legends gathered at the Dolby Theater on Saturday night to celebrate Eddie Murphy as he received the AFI Life Achievement Award, the highest honor bestowed by the American Film Institute.

Spike Lee presented Murphy with the 51st AFI Life Achievement Award, commending the comedian and actor for having been true to himself, prioritizing his family and for being a “great artist” throughout his esteemed career. 

In addition to Lee, an A-list roster of stars turned out to celebrate Murphy’s achievement; Tracy Morgan, Dave Chappelle, Bill Burr, Chris Rock, Arsenio Hall, Judge Reinhold, Kenan Thompson, Robert Townsend, Eva Longoria and Da’Vine Joy Randolph all made speeches over the course of the night, sharing anecdotes about Murphy and what his work and legacy means to them. 

Chappelle, who co-starred with Murphy in “The Nutty Professor,” recalled Murphy as one of his “heroes” growing up. “When I was 14 years old, ‘Raw’ came out and I would go and I would watch it every day after school like I was taking a class,” Chappelle said. “I knew, somehow, this was something really important in my life.”

The comedian also worked with Murphy’s late brother, Charlie, on “Chappelle’s Show.”

“A couple weeks ago, on a whim, I reached out to Eddie and asked if I could come by and visit him… and me and Eddie, for the first time, talked about Charlie since he passed,” said Chappelle. “In the midst of conversation, Eddie was doing this, ‘Man, you should do a ‘Chappelle’s Show’ movie or something like that.’ And I said, ‘Man, that would be tough without your brother.’ So Eddie, if I do it man, do Charlie’s part. And let’s fucking go.” 

A surprise appearance from Stevie Wonder stunned audiences, as the musician recounted how he first learned of Murphy because of his imitations of him on “Saturday Night Live” early in his career.  As the artist joked: “He made fun of a blind man!” Though it was clear there’s no animosity there: “It’s not easy to make people smile, trying to get them to look on the brighter side, but Eddie has a way of getting in our head and hearts to create a belly laugh that eases the pain, builds the bridge and diffuses a situation which makes a real difference. That is power, that is courage and that is the funny man, my friend.” 

The surprises didn’t stop with Wonder — Mike Myers appeared on stage in green “Shrek” makeup, an homage to the 2001 hit film he co-starred in with Murphy, who lent his voice to Donkey, the ogre’s sidekick. “Eddie is one of the greatest,” Myers said. “I never got to work with Charlie Chaplin, I never got to work with Alec Guinness, I never got to work with Peter Sellers, but it is my absolute honor to say and to be able to tell my kids that I got to work with Eddie Murphy.”

Jennifer Hudson also delighted the audience with a “Dreamgirls” musical medley, a tribute to the 2006 film she starred in alongside Murphy — and which earned him a Golden Globe and SAG Award for best supporting actor. 

When Murphy took to the stage to accept his honor, he noted that it couldn’t be coming at a better time — he’s just welcomed his first grandson, third granddaughter and celebrated his 65th birthday earlier this month. “I feel like it’s raining blessings on me,” he said. 

In classic Murphy fashion, things got humorous quick as the comedian cracked a joke about what would’ve happened if AFI had made him wait until he was in his 90s to receive the achievement award: “If you made me wait until I was 92, I would’ve came out here and said fuck everybody… and then I’d get down and shit on the floor,” the comedian said to raucous laughter. “We staved off that happening by getting this award tonight.” 

“I wish y’all could feel what I’m feeling and see what I’m seeing… I’d like to thank everybody for giving me this night that I will remember forever and ever and ever,” Murphy concluded, getting emotional. “I almost, almost teared up. I’m going to get backstage and cry.” 

Over the course of his career, Murphy has appeared in hit films including “48 Hrs.,” “Trading Places,” “Dr. Dolittle,” “Coming to America,” and the “Beverly Hills Cop” franchise. Murphy began his career as a stand-up in the 1980s, joining the cast of “Saturday Night Live” at 19-years-old and giving viewers a number of unforgettable characters, like Velvet Jones, Buckwheat and Gumby.

Earlier in the evening, Oscar-winning cinematographer Autumn Durald Arkapaw received the Franklin J. Schaffner alumni medal, an honor she described as “really beautiful.” “The last time I was here was for the Oscars, and then to receive this honor with someone I grew up with watching on television before I even knew that I was going to be in the film industry, before I knew I wanted to be a cinematographer,” Arkapaw told Variety on the red carpet. “He was so important in my trajectory of enjoying films on the big screen and just feeling like the theater was a place for me to go to and escape. And so now to be here with him, it’s really cool.”

Most recently, AFI presented the 50th AFI Life Achievement Award to Francis Ford Coppola in 2025. Previous recipients include Julie Andrews, George Clooney, Meryl Streep, Martin Scorsese and Steven Spielberg.

As previously announced, “The 51st AFI Life Achievement Award: A Tribute to Eddie Murphy,” will premiere on Netflix on May 31, marking the first year the AFI special will be available to stream on the platform.

The Strokes ended their performance on weekend 2 of Coachella on a note of political protest, capping the set with a video montage that accused the CIA of enacting regime change in foreign countries over the decades, finally concluding with footage of Israel bombing Gaza and the United States bombing Iran.

These several minutes of video commentary came as a surprise to audiences viewing at home as well as in the desert, since it bore no resemblance to how the group rounded out its set the previous weekend. The song that accompanied this statement, “Oblivius,” had not been performed by the Strokes in concert at all since 2016; it included singer Julian Casablancas repeating the statement in the chorus, “What side you standing on?”

As the Strokes wrapped up their final number Saturday night, performing in front of an illuminated mosque backdrop, the footage on the huge LED screens behind them portrayed recent American bombings in the Middle East with the large caption “Over 30 universities destroyed in Iran” — followed by another video clip of a large building in Gaza being destroyed in a controlled explosion, with the caption: “Last university standing in Gaza.”

Most of the long montage took issue with what the band presented as America’s historic misdeeds, from the era of slavery up through America’s missile strikes in Iran. But bringing the Israeli/Palestinian conflict into it at the end was notable, given how the biggest controversy at last year’s Coachella had to do with the group Kneecap using its set to condemn Israel for military actions in the Middle East, albeit in more profane terms.

A fan who posted video of the climax on X wrote: “This was the moment the Strokes ensured they’ll never set foot in Coachella again! I’m so proud of them.” But it seems like a long shot the group will be subject to any such blacklisting, with the Strokes already booked to headline Goldenvoice’s next Southern California festival in August.

Unlike the Kneecap proclamations and video that appeared to take Coachella organizers aback in 2025, the festival appeared to be ready for and accepting of presenting the Strokes’ political statement, with long shots in the live video feed on YouTube making all of the group’s footage clearly visible.

The bulk of the Strokes’ video montage had to do with assertions that the CIA has been responsible for overthrowing governments in South America or even assassinating leaders — along with giving voice to the conspiracy theory that the U.S. was involved domestically in the assassination of civil rights leader Martin Luther King Jr. After showing an image of King, a caption read: “US govt found guilty of his murder in civil trial.” (The trial referenced took place in 1999, and was followed by the Justice Department declaring in 2000 that there was no evidence to lend validity to the jury’s verdict.)

Among the other accusations of secret U.S. intervention over the years, the Strokes’ video asserted that the CIA was suspected of involvement in the 1981 plane crashes that killed Panamanian president Omar Torrijos and the president of Ecuador (spelled “Equador” on screen), Jaime Rondos, as well as involved in the overthrow of figures from Iranian prime minister Mohammed Mossadegh in 1953 to Chilean president Salvador Alende in 1973 and Bolivian president Juan Torres in 1976.

Following the climactic portrayal of bombings in Iran and Gaza, the Strokes’ video montage ended with a shot of a bomber plane in the air, as the song abruptly ended.

Much of the reaction to the band’s video commentary at Coachella among their fans was initially positive, with statements on their Instagram posts like “Thank you so much for using your stage to highlight Gaza and Iran and Latin America” and “Amazing show and a bombshell of reality at the end!”

Reaction among pro-Israel music fans and conservative U.S. fans may grow as clips of the performance are further disseminated on social media Sunday. Most followers of the Strokes, however, are likely to be aware of Casablancas’ past support for Palestine, as he signed a 2021 “Musicians for Palestine” letter.

Following the group’s Weekend 1 appearance, the Strokes announced a world tour that will begin in June and run through the fall. It includes an L.A.-area headlining appearance in August at the Just Like Heaven festival at Brookside at the Rose Bowl in Pasadena, produced by Goldenvoice, which also produces Coachella.

The Strokes ended their performance on weekend 2 of Coachella on a note of political protest, capping the set with a video montage that accused the CIA of enacting regime change in foreign countries over the decades, finally concluding with footage of Israel bombing Gaza and the United States bombing Iran.

These several minutes of video commentary came as a surprise to audiences viewing at home as well as in the desert, since it bore no resemblance to how the group rounded out its set the previous weekend. The song that accompanied this statement, “Oblivius,” had not been performed by the Strokes in concert at all since 2016; it included singer Julian Casablancas repeating the statement in the chorus, “What side you standing on?”

As the Strokes wrapped up their final number Saturday night, the footage on the huge LED screens behind them portrayed recent American bombings in the Middle East with the large caption “Over 30 universities destroyed in Iran” — followed by another video clip of a large building in Gaza being destroyed in a controlled explosion, with the caption: “Last university standing in Gaza.”

Most of the long montage took issue with what the band presented as America’s historic misdeeds, from the era of slavery up through America’s missile strikes in Iran. But bringing the Israeli/Palestinian conflict into it at the end was notable, given how the biggest controversy at last year’s Coachella had to do with the group Kneecap using its set to condemn Israel for military actions in the Middle East, albeit in more profane terms.

With the Strokes’ appearance, unlike Kneecap’s in 2025, the festival appeared to be ready for and accepting of presenting the band’s political statement, as long shots in the live video feed on YouTube made all of the group’s footage and captions clearly visible.

The bulk of the Strokes’ video montage had to do with assertions that the CIA has been responsible for overthrowing governments in South America or even assassinating leaders — along with giving voice to the conspiracy theory that the U.S. was involved domestically in the assassination of civil rights leader Martin Luther King Jr. After showing an image of King, a caption read: “US govt found guilty of his murder in civil trial.” (The trial referenced took place in 1999, and was followed by the Justice Department declaring in 2000 that there was no evidence to lend validity to the jury’s verdict.)

Among the other accusations of secret U.S. intervention over the years, the Strokes’ video said that the CIA was suspected of involvement in the 1981 plane crashes that killed Panamanian president Omar Torrijos and Equadorian president Jaime Rondos, and in the overthrowing of figures from Iranian prime minister Mohammed Mossadegh in 1953 to Chilean president Salvador Alende in 1973 and Bolivian president Juan Torres in 1976.

Following the climactic portrayal of bombings in Iran and Gaza, the Strokes’ video montage ended with a shot of a bomber plane in the air, as the song abruptly ended.

Much of the reaction to the band’s video commentary at Coachella among their fans was initially positive, with statements on their Instagram posts like “Thank you so much for using your stage to highlight Gaza and Iran and Latin America” and “Amazing show and a bombshell of reality at the end!”

Reaction among pro-Israel music fans and conservative U.S. fans may grow as clips of the performance are further disseminated on social media Sunday. Most followers of the Strokes, however, are likely to be aware of Casablancas’ past support for Palestine, as he signed a 2021 “Musicians for Palestine” letter.

“Matarifes,” picked up for worldwide sales by Germany’s Picture Tree, features at this year’s Guadalajara Construye, one of the industry centerpieces at Latin America’s biggest film festival.  

It is joined by the next from “Yesterday Wonder I Was” director Gabriel Marino and buzz title “Poor Daniel.”

Shown just to the section’s jury, “Matarifes” marks Uruguayan directors brothers Rafael and Bernardo Antonaccio’s follow-up to an eye-catching breakout debut, the slow-boil but finally explosive thriller “In the Quarry,” which sold to most major markets worldwide and flagged the Antonaccios as talents to track.  

A three-country multilateral co-production – usually a good sign with Latin American titles – once more in “Matarifes” social-issue observance is galvanised by a thriller drive and a singlar setting, here the 1970s meat ban in Uruguay.  

Starring famed film director Claudia Sainte-Luce (“The Amazing Catfish”), “The Night Is About to Come” marks a return to filmmaking for Mariño who burst on the scene with road movie “A Secret World, selected for Berlin, followed by low-fi fantasy romance “Yesterday Wonder I Was,” a double Morelia winner. 

There’s also good word on “Poor Daniel,” the first feature from respected Argentine actor and playwright Santiago Gobernori. 

Production partners on “I Have To Leave” include Animal de Luz, headed by Inna Payán, a key producer on Cannes Un Certain Regard winner “La Jaula de Oro.” 

“Swimming in the Blue” has won a bunch of screenplay awards and grants. Daniel Riglos’ “Where Dreams Sleep” marks a 10 year journey from short to feature.  

A closer look at the titles:

“I Have to Leave,” (“Me tengo que ir,” Hugo Arrevillaga Serrano, Animal de Luz, Cine Acrílico, Mexico)

A nurse adrift finds an unlikely guide to confront grief and memory. Shot across Mexico City with a low-budget, emerging crew and a first-time film director from the theater, the film “embraces both risk and intimacy. It’s an honest portrait of healing, where holding on too long deepens the wound and learning to loosen its grip becomes the only way forward,” says producer Vicente Garibay Lijanova. 

“The Night Is About to Come,” (“Ya se quiere venir la noche,” Gabriel  Mariño, Humanos Defectuosos, Jaibol Films, Pirexia, México) 

Lucero, a lonely call-center worker, attends a high-school reunion, opening old wounds. “As an impulsive act of defiance she stages her own death, only to have a classmate’s hidden confession force her to confront the one thing she cannot outrun: herself,” says the synopsis. “This film is a raw character study,” says Mariño. “The film embraces her contradictions without trying to resolve them. Ambiguity becomes a way of seeing her, not defining her. What remains is an attempt at empathy.”

“Matarifes,” (Monarca Films, Uruguay; Blurr Stories, Spain, Hain Cine, Argentina; La Mayor Cine, Uruguay; Nadador Cine, Uruguay)

Given a meat ban, Galician immigrant José and daughter Rosita set up a clandestine slaughterhouse. As the operation grows across the city-wide black market, their ambitions clash with corrupt authorities, rival butchers and a shifting political landscape, pushing the family toward dangerous alliances and violent consequences. “‘Matarifes’ explores how survival can push people to cross boundaries, and how, in that process, ambition ends up devouring everything,” say Rafael and Bernardo Antonaccio. 

“Poor Daniel,” (“Pobre Daniel,” Santiago Gobernori, Lucía Valdemoros, Blurr Stories, Obol Film Club, Argentina, Spain)

Daniel and Elizabeth’s routine existence is shattered by the arrival of Elizabeth’s brother, just released from a psychiatric clinic, sparking a ménage “as unexpected as tender.” “An attempt to blend my search for acting poetics and film language,” says respected Argentine actor Santiago Gobernori,, who adapts his own stage play. Produced by Spain/Argentina-based Blurr Stories, behind Iván Fund’s Berlin Festival Jury Prize winner “The Message,” and Argentina’s Obol (“La Sudestada”). 

“Swimming in the Blue,” (Tempo Meio Azul Piscina,” Sofia Federico, Benditas Projetos Criativos, Araçá Filmes, Mar Digital, Brazil)

“More than telling a story, my wish is to show the strength of human relations, how they are built and how they are part of us. Solidarity, affection and caring for one another – above all among women – are very present in the plot, with priceless values,” director Sofia Federico tells Variety. A double winner at Frapa 2020 while in development, taking two awards, one a Projeto Paradiso Award for feature screenplay.  

“Where Dreams Sleep,” (“Donde Duermen los Sueños,” Daniel Riglos, Bonzo Films, Animalita, Frontera Cine, Peru)

A feature makeover of a Riglos short: a car accident leaves Santiago in coma, connecting via memory and dreams with Alina, the love of his life, who died. “Santiago must make the most painful decision of his life: hold on to the woman he loves and disappear… or let her go and survive.” “A personal exploration of memory and desire, grounded in a story showing how the mind negotiates reality, fantasy, imagination and dreams,” Riglos told Variety.  

Jessica Chastain says Apple TV is finally going to release her political thriller series “The Savant.”

It was supposed to premiere in September 2025 but was postponed following the assassination of Charlie Kirk. The Oscar winner stars in the series as an investigator who goes undercover on the dark web to try to find hate groups and prevent domestic terrorism.

“Before it was like, ‘I don’t know if we’re going to see it,’ but now I can say, ‘We’re going to see it,” Chastain told me exclusively on Saturday at the Breakthrough Prize ceremony in Santa Monica.

As for when, sources tell me that Apple is planning for a July release.

EXCLUSIVE: Jessica Chastain tells me that Apple TV will finally release her political thriller series “The Savant” after it was postponed in September following the assassination of Charlie Kirk. Sources now tell it will likely premiere in July.
I spoke with Jessica at tonight’s… pic.twitter.com/dJYbWaU3iD

— Marc Malkin (@marcmalkin) April 19, 2026

When Apple TV announced the postponement on Sept. 23, it said in a statement, “After careful consideration, we have made the decision to postpone ‘The Savant.’ We appreciate your understanding and look forward to releasing the series at a future date.”

A day later, Chastain, who also serves as an executive producer on “The Savant,” said in her own statement posted on Instagram that she disagreed with Apple’s decision. “I’ve never shied away from difficult subjects, and while I wish this show wasn’t so relevant, unfortunately it is,” she wrote, in part. “‘The Savant’ is about the heroes who work every day to stop violence before it happens, and honoring their courage feels more urgent than ever. While I respect Apple’s decision to pause the release for now, I remain hopeful the show will reach audiences soon. Until then, I’m wishing safety and strength for everyone, and I’ll let you know if and when ‘The Savant’ is released.”

The cast of the show also includes Nnamdi Asomugha, Pablo Schreiber, James Badge Dale, Cole Doman, Michael Mosley, Dagmara Domińcczyk, Jordana Spiro, Trinity Lee Shirley, Toussaint Francois Battiste, Hannah Gross and David Wilson Barnes.

Chilean star power is in full force at the 41^st Guadalajara Film Festival (FICG) where Pablo Larrain, Sebastián Lelio and Maite Alberdi lead a large contingent from Chile as the festival’s guest country of honor.

“They are our golden generation of filmmakers – many of whom reached international recognition, including Oscar nominations and wins, while still in their forties—that helped set us on this path,” CinemaChile director and co-founder Alexandra Galvis told Variety. “The selection of these three is no coincidence: beyond their achievements, they share a common ground in navigating the industry at a global level, collaborating with platforms like Netflix and yet maintaining a distinct, uncompromised artistic voice.”

All three are among the 10 honorees in this edition which also includes a retrospective on Alejandro Jodorowsky, a cult filmmaker and key figure in surrealist cinema, whose work has left a lasting imprint across Latin America and the global stage.

Among the festival industry highlights is a masterclass by Larraín and his producer brother Juan de Dios Larraín with Francisco Ramos, Netflix’s VP of Latin American Content, moderating the talk.

Larraín, whose films has been Oscar-nominated several times, has become a leading voice in contemporary cinema, known for his sharp critiques of power, memory and political history. His key works include “No,” “The Club,” “Neruda,” “Tony Manero” and his trilogy “Jackie,” “Spencer” and “Maria.”

Lelio is known for intimate and human explorations of identity, earning international acclaim with “Gloria” and his Oscar-winning “A Fantastic Woman,” as well as “Disobedience” and “The Wave,” which premiered at Cannes.

Alberdi stands out for her tender, precise observation of everyday life. Her Oscar-nominated docs “The Mole Agent“ and “The Eternal Memory” brought her global recognition. She recently directed her first fiction feature “In Her Place” and premiered docu-drama “A Child of My Own” at the Berlinale.

“Gloria,” “The Club” and four of Alberdi’s docus, including the Mexico-set “A Child of My Own” will be screened alongside a selection of Chilean shorts, features and series playing across the festival, some in competition.

FICG will also screen two episodes of Prime Video’s ambitious series “The House of the Sprits,” led by Chilean showrunners Francisca Alegría, Fernanda Urrejola and Andres Wood. The limited series adaptation of Isabel Allende’s iconic debut novel is set to premiere worldwide April 29 on the giant streamer.

“Raza Brava,” international Emmy winner Hernán Caffiero’s soccer-themed series produced by DeCulto, Atómica and Erik Barmack’s Wild Sheep Content, will also have a sneak peek.

Chilean series have grown in spades since Chile was the festival’s country guest of honor in 2019, Galvis pointed out. “’Raza Brava’ could not be timelier, given the upcoming FIFA World Cup this summer,” she said.

“We are a delegation of more than 100 people, and I find it very meaningful that two countries with such a strong cultural dialogue are able to connect,” said Daniel Laguna, executive secretary of Chile’s Audiovisual Development Fund. “We are very similar, and that similarity becomes a real strength in collaboration. It generates a kind of creative virtuosity when we work together – something that benefits both countries.”

Atop the agenda is a Mexican-Chilean co-production meeting with Caffiero, Mexican producers Edher Campos (Machete) and Nicolás Celis (Pimienta Films), Chilean actress Paulina Garcia and Mexican director Iria Gómez participating in a panel.

 “This is essentially an effort to reactivate that interest in a co-production agreement which was first proposed in 2019,” said Gabriela Sandoval, Storyboard producer and director of producers association, APCT.

“The idea is for the co-production agreement to be similar to the newer ones that have been signed with Spain or the one that will be signed with Uruguay. The agreement with Spain is already in force and includes not only feature films but also series,” Sandoval noted.

Chile’s presence also extends to the festival juries, with prominent figures from the industry, among them García (Premio Mezcal); producer Beatriz Rosselot (Ibero-American Documentary); filmmaker Hugo Covarrubias (Animation); directors Patricio Valladares and Jorge Olguín (Genre Cinema) and Agustín Olivera Sepúlveda, from the University of Valparaíso, on the youth jury.