Sanfic closed its awards season under a cloud of grief, with the Santiago Film Festival honoring “Monguen” and “Narciso” as its top competition winners following the unexpected death of Chilean Oscar winner Sebastián Lelio on Nov. 6.

The red-carpet portions of the Sanfic Industria ceremony on Nov. 6 and the festival ceremony on Nov. 7 were canceled. Festival director Carlos Nuñez and Sanfic Industria chief Gabriela Sandoval dedicated the remainder of the event, which wraps Nov. 8, to the filmmaker behind “A Fantastic Woman.”

“His films will remain as his legacy but his passing is incredibly painful, especially because he had been so close to the festival since its very beginning,” Nuñez said. Lelio’s family announced that the Cineteca Nacional would be open during the weekend to people wishing to pay their respects.

At the time of his death, Lelio was filming an adaptation of Alejandro Zambra’s novel “Chilean Poet” for Fabula. He was also in pre-production on “Voyagers,” featuring Andrew Garfield and Daisy Edgar-Jones.

Sanfic’s Competition Winners

“Monguen,” a documentary from the late Antonio Caro, prevailed over eight other titles to win Best Film in the Chilean competition. Caro died suddenly while working on the documentary, leading its producer to take over. Nuñez praised the film for exploring Mapuche culture, southern Chile and people who are rarely represented on screen.

Thomas Woodroffe received Best Chilean Director for his debut feature, “Erratics” (“Bloques erráticos”). The film stars Denis Lavant as the ghost of filmmaker Lucien Castelnau, released from a glacier after a century into a futuristic Patagonia where new technology meets neglected histories.

Sofía Paloma Gómez earned the Chilean competition’s Best Performance award for “Black Corp.” Ariel Amor’s “Reina de Puerto,” about a 60-year-old trans woman in Valparaiso who bonds with a young drifter, was selected as Best Short from 21 contenders. “Ruidos molestos” and “Que no te alcancen los lobos” received special mentions in the shorts category.

In the international competition, Paraguayan director Marcelo Martinessi’s “Narciso” took Best Film. Adapted from Guido Rodríguez Alcalá’s novel, the historical drama follows an LGBT Paraguayan rock star found dead at the height of his career. Through music and art, the story examines Asunción society during Alfredo Stroessner’s dictatorship.

Lukas Dhont won Best Director for “Coward,” while Diego Luna received a directing special mention for “Ashes.” “Love Is the Monster” won Best Performance, and “Coward” actors Emmanuel Macchia and Valentin Campagne received a special mention.

An emotional Paulina Garcia paid tribute to Lelio while accepting the Best Actress award for her role in “Love Is the Monster.” She displayed the Berlin Silver Bear she won for her performance in Lelio’s 2013 drama “Gloria.”

Industry Projects Gain Momentum

Sanfic Industria presented mostly in-kind awards to more than 100 participants across its project sections. At WIP Iberoamericana, cinematographer-turned-director Armin Marchesini Weihmuller’s feature debut “Hot Springs” collected three prizes, including the section’s only cash award. Produced by Argentina’s Gema Films, the hybrid portrait follows siblings Evangelina and Luis, both over 80, during a brief stay at a hot-springs hotel spa.

Yull Núñez’s Indigenous eco-thriller “The Cry of Serankwa” also secured three awards. Its story places a mining project in Colombia’s highest mountains at the center of a conflict involving two former best friends. Fernando Lavanderos’ 1990-set teen romance “The Grass Along the Path” also received recognition.

The Mórbido Lab genre prizes were led by “Tonalli,” “The Hostess” and “L4IK4.” Mexico City-set “Tonalli” received a co-production prize from Mórbido. “L4IK4,” the feature debut of Chilean animator Simón Bucher, combines 2D animation, stop motion and pixilation in an alternate Cold War universe.

Cineplex also boarded two WIP Iberoamericana projects. The distributor took North and South American sales rights to Mariel García Spooner’s Panama-set “La Residencia,” while acquiring Colombian and Latin American rights to “The Cry of Serankwa.”

Despite the somber finish, Sanfic recorded an attendance increase of 10% to 15%, with the final estimate hovering between 35,000 and 40,000. Nuñez said the week had brought filmmakers and casts together with audiences and produced packed screenings.

ShowBiz Take

Sanfic’s closing days demonstrated both the personal and practical roles a festival can play. The event created space to honor Lelio and Caro while also elevating films centered on Mapuche culture, Paraguayan history, Indigenous territories, aging and trans experience. At the industry level, awards and Cineplex’s acquisitions gave unfinished projects tangible support beyond their festival exposure.

What Happens Next?

Sanfic wraps Nov. 8. One day later, Alex de la Iglesia is scheduled to begin a four-week shoot in Santiago and surrounding areas for “The Misunderstanding,” his first production filmed in Chile. The absurdist comedy stars Benjamin Vicuña and emerged after de la Iglesia met Chilean producer Pablo Díaz of Rio Estudios during a Sanfic masterclass the previous year.