Costa Rican production label Incendio Cine is expanding its regional influence through a series of co-production deals for Felipe Zúñiga’s upcoming film, “We Won’t Let the Goat Die.” By partnering with Panama’s Expansive Cine and Peru’s Cine Infinito, the label is securing international financing and distribution pathways, a model that has become essential for filmmakers in Central America to overcome limited local funding structures.
Strategic Co-productions Driving Central American Cinema
The success of the Incendio Cine label is built on a formula of regional collaboration. Felipe Zúñiga’s “We Won’t Let the Goat Die,” which recently won the grand prize at the Fantastic Lab Central America & Caribbean, is moving forward with the support of producers Isabella Gálvez from Panama and Jimena Hospina from Peru. According to Zúñiga, these established partnerships are vital for moving projects from development to production.
Producer Nicolás Wong, known for his work on “La Llorona,” notes that the label is currently in final talks with Chile’s Clara Larraín of Clara Films to further bolster the project. This collaborative approach allows filmmakers to pool resources and expertise, effectively navigating the budgetary constraints inherent in the Central American film market.
Did you know?
Felipe Zúñiga recently co-directed “No One Knows We Play Today” with Valentina Maurel, whose film “Forever Your Maternal Animal” earned accolades at the Cannes Film Festival. This cross-pollination of talent is a hallmark of the current Costa Rican film movement.
The Emotional Architecture of “We Won’t Let the Goat Die”
The film centers on a ten-year-old boy named Bernardo who attempts to protect his mother following his father’s death. Zúñiga describes the narrative as being built from the “emotional material” of his own childhood, specifically the burden of responsibility children often feel when caring for struggling adults. While not strictly autobiographical, the director emphasizes that the story explores the universal fear of losing one’s home and the desire to protect those who are supposed to protect us.
The production aims to balance these intimate, auteur-driven themes with the efficiency required by regional budgets. By focusing on high-quality storytelling that resonates internationally, the team behind Incendio Cine seeks to translate local narratives into broader cinematic appeal.
Addressing Structural Fragility in Regional Filmmaking
Despite the recent international acclaim for Costa Rican cinema, Zúñiga warns that the industry remains in a precarious position. He notes that filmmakers often have to “reinvent from scratch” the conditions necessary to produce a film due to a lack of stable funding structures. The primary challenge for the industry, according to Zúñiga, is converting international festival recognition into long-term resources and improved working conditions for local crews.
The current diversity of voices—particularly the rise of female directors like Nathalie Álvarez Mesén and Sofía Quirós—has helped expand how the country is represented on screen. Zúñiga believes this variety is a core strength, though it must be supported by more sustainable financial frameworks to ensure the continued growth of the national cinema.
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Frequently Asked Questions
What is the current state of the Costa Rican film industry?
According to director Felipe Zúñiga, the industry is experiencing a period of creative growth and international recognition, though it still faces significant challenges due to unstable, small-scale funding structures.
How do co-productions help independent films?
Co-productions allow filmmakers to share financial risk, access diverse regional funding, and utilize international production expertise, which is essential for projects with limited local budgets.
Is “We Won’t Let the Goat Die” an autobiographical film?
The director states the film is not a direct reconstruction of his life but is built from the emotional experiences of his childhood, including fear, imagination, and the responsibility of caretaking.
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