72nd San Sebastian Film Festival Welcomes New Chilean Troika, Maquina

In a bid to enhance efficiency in film and series production on a global scale, Maquina has been introduced at the 72nd San Sebastian Festival. This new production entity brings together three established companies.

Led by experienced Chilean producers, Maquina comprises Augusto Matte’s London-based Deptford Film, Úrsula Budnik’s Horamágica from Valdivia, and Fernando Bascuñán’s Planta located in Santiago. The formation of this collaborative initiative aims to harness the combined strengths of its partners, all of whom are participating in the prestigious Spanish festival.

“Collaboration has always been our goal; Maquina gives us a flexible structure to operate more swiftly and effectively,” Matte shared with Variety. He elaborated that the concept is inspired by “machinic assemblages,” illustrating a fluid system where diverse components unite to form a cohesive whole without a centralized focus.

Budnik added, “This structure functions as a network of cooperation among the three production companies, with each contributing its distinct resources and expertise to enhance development and production efforts.”

Bascuñán echoed this sentiment, stating that “by merging the individual strengths of each partner, Maquina will adeptly manage complex, multi-territorial projects with increased agility and scale.”

Alongside Horamágica and co-producers Oro Films and Italy’s Dispàrte, Bascuñán is involved in the San Sebastian WIP Latam program with Nayra Ilic’s “Cuerpo Celeste.” Planta is also engaged in the San Sebastian Co-Production Forum with the project “Hard Boiled School” and co-presenting Federico Luis’ “Simón de la Montaña” at the festival’s Horizontes Latinos section.

Leading Maquina’s debut is “Daemon,” the first feature film by Valeria Hofmann, who gained attention with her short “AliEN0089.” This short premiered at Sundance, where it won Best Director and received accolades at Clermont-Ferrand and Filmfest Dresden.

“Daemon” delves into themes of digital alienation and identity, continuing the exploration initiated in Hofmann’s short. Set in Valparaíso, Chile, the techno-horror film follows Liz, a young woman entangled in a virtual romance with Xin, a digital being.

As her reality intertwines with technology, Liz must choose between preserving her humanity or succumbing to an all-consuming digital existence. The film examines isolation, identity, and the more sinister dimensions of technology.

During the San Sebastian Festival, Maquina aims to secure co-production partnerships as it aspires to establish itself as a major player in the global film arena. Budnik brings over two decades of expertise in the audiovisual sector as an executive producer.

She established Horamágica in 2003, leading various film and television projects. Among her early successes are Sebastián Lelio’s first two feature films, “La Sagrada Familia” and “Navidad.” Budnik has also produced acclaimed series such as “Los archivos del cardenal” and “Sitiados.”

Bascuñán, the founder of Planta in 2010, has produced several films, including “Simon de la Montaña,” which won the Grand Prix at the 2024 Cannes Critics’ Week, and Felipe Gálvez’s “The Settlers” (“Los Colonos”), which was featured in Un Certain Regard at the 2023 Cannes Film Festival and served as Chile’s Oscar submission last year.

He has also been instrumental at Quijote Films, contributing to over ten film productions, including the critically acclaimed “Blanco en blanco” by Theo Court and “Blanquita” by Fernando Guzzoni.

Since 2018, Matte has been based in London, spearheading complex co-productions across Latin America and Europe. His work has been highlighted at major festivals, such as Sundance, Berlin, Cannes, Venice, and Toronto.

Before founding Deptford Film, he served as CEO and producer at Jirafa, where he played a vital role in nurturing the careers of many filmmakers and overseeing various international projects, including Francisca Alegria’s “The Cow Who Sang a Song into the Future” and Hofmann’s “AliEN0089.” He holds a Master’s degree in Contemporary Art Theory from Goldsmiths, University of London.