SELLING THE SOUTH

THE REMIT OF THE LATIN AMERICAN FILM COMMISSION NETWORK RUNS FROM MEXICO VIA CENTRAL AMERICA DOWN TO ARGENTINA AND CHILE IN THE SOUTH. IT RECENTLY ESTABLISHED A BASE IN CALIFORNIA TO BETTER SELL THE REGION TO THE WORLD. ANDY FRY SPOKE TO COSTA RICA FILM COMMISSIONER AND LAFCN VICE-PRESIDENT JOSE CASTRO

LATIN America and the Caribbean have always been recognised as home to an array of unrivalled tourist destinations. But as the global production business gets back to normal after COVID-19, local film commissions are keen to reinforce the appeal of the region as a perfectly-equipped place to shoot movies, TV series and commercials.

“This region has it all,” says Jose Castro, Costa Rica film commissioner and vice-president of the Latin American Film Commission Network (LAFCN) — a group of 13 film commissions that is seeking to promote the many benefits of the region as a collective. “Many people know Latin America and the Caribbean for its spectacular locations and diverse architecture, but the region is also home to a highly creative and dynamic production industry. Right across the region, you can find amazing crews, great studios and all the infrastructure needed for a successful shoot.”

The LAFCN was formed in 2010, but has really upped its game in the last few years — with Castro moving from his native Costa Rica to California to pitch the region to producers. Explaining the rationale for the LAFCN, he says: “It allows us to speak with a unified voice, acting as a first point of contact for anyone wanting to film in the region but not sure where to begin. It is also a way for us to support each other — improving and developing our skills so we are able to receive the best projects.”

Drilling down into the specific advantages of shooting in the region, Castro says: “It starts with the geographic locations. One message we want to get out there is that North American producers don’t need to fly around the world for deserts, forests, rivers, waterfalls, coastlines, mountains and glaciers — because they are all here.”

High-profile examples of movies that have used locations in the region over the years, have included the Atacama Desert in Chile (Quantum of Solace), the Iguazu Falls in Argentina (Black Panther) and the salt plains of Salar de Uyuni in Bolivia (Star Wars: The Last Jedi). The hugely successful Pirates of the Caribbean franchise also made excellent use of exotic locations including the Dominican Republic, St Vincent and the Grenadines. “Our locations are perfect for recreating imaginary worlds,” Castro says, “but they are also great for doubling. If you need to replicate the Middle East, Hawaii or Vietnam, we have those locations here. And it’s easy to fly around within the wider region, if your production is looking to achieve a number of different locations.”

At the same time, Castro says, the region offers diversity: “Our footprint extends from Mexico via Central America all the way to Argentina and Chile in the South. Within this mix are the many islands that make up the Caribbean. Across these areas you can get different styles of architecture, diverse communities and various climate zones — including the tropics. The LAFCN also stretches across the North and South Hemisphere, which provides options depending on the production’s time of year.”

As for production infrastructure, titles like Narcos and Roma demonstrate the consummate skills of regional crews and talent. A major vote of confidence saw Netflix open an office in Bogota, Colombia in 2021 — with plans to spend $175m locally. “Mexico, Brazil, Colombia, Argentina and Chile all have very developed industries,” Castro says, “but beyond these you’ll find a real depth of local expertise. In my own country, Costa Rica, we have 16 universities training people to work in this industry. You’ll find a similar commitment in fast-growing hubs like the Dominican Republic, which has a 25% filming incentive and a state-of-the art studio, including water tanks.”

Castro says the LAFCN membership is not prescriptive about the work that comes to the region, noting all categories have their benefits. “Blockbuster movies offer a huge budget in a short time, but series are good because they improve the industry and provide work over an extended period. Commercials have also been a very lucrative area. And in Central America we have seen some great examples of reality series which shoot across borders, showcasing our ability to collaborate.”

He says one of the key benefits of having a centralised body like the LAFCN is that “we can keep producers informed of any changes in tax incentives and help them understand filming requirements at a local level. Every country in the region has a different way of structuring its film commission network, so we can act as a gateway — helping with introductions to the key people on the ground. In turn, these people can facilitate permits and advise on local production services partners.”

On the subject of incentives, Castro says several jurisdictions across the region have introduced measures to encourage production. “A good example is the Brazilian city of Sao Paolo which offers 20-30% cash rebates for productions on eligible expenditures. Colombia has a very attractive 40% rebate while Costa Rica recently enacted a law that will create a range of incentives for producers.”

Other countries that have made serious moves to attract production include Chile with its 30% tax rebate and Panama, which upped its incentive to 25% in 2021. To date, the Central American nation famous for its shipping canal has hit the headlines by hosting DC movie franchise Suicide Squad and Netflix hit series La Casa de Papel (Money Heist). The latter filmed on the beautiful Guna Yala islands during season three. Panama has now announced plans for a studio complex near capital Panama City. Uruguay is also pulling out all the stops to support production — introducing a 25% incentive. Recent credits include Netflix movie Conquest, starring Keanu Reeves; Amazon Prime’s Yosi, The Regretful Spy; and HBO series Amsterdam.

Another country which could be about to experience a seachange in its production work is Peru, which recently hosted Paramount’s Transformers: Rise of the Beasts. The film, which shot extensively around Cusco and Machu Picchu, is reckoned to have generated more than $10m for the local economy — and led to a relaxation in customs rules that may pave the way for further high-profile productions.

All of this is creating a buzz around the region, which the LAFCN is keen to embrace: “We have just agreed our first-ever legal constitution, which will make it easier for us to build relationships with production partners,” Castro says. “We have also appointed six members to our board that are representative of the entire region — two from Central America, two from the Caribbean and two from South America. It’s an important part of our mission to make sure we are representing everyone. We want to draw attention to the region as a whole, so that our countries, states and cities all have an opportunity to benefit from the current boom in production.”