The two production houses from Chile and Argentina strengthen their alliance through a vision born of technical trust, nurtured by artistic risk, and consolidated with an ambitious bet on global markets.
In Latin American cinema today, co-production is essential for moving projects forward. Within this landscape, Jaque Content emerges as a major ally. With over two decades of experience and strategic offices in Argentina and Mexico, their acclaimed catalog ranges from the lauded Noche de Fuego and the Cannes phenomenon Los Delincuentes to the massive success of the series The Cleaning Lady (La Chica Que Limpia).
Behind this structure are its executive producers. Daniel Lambrisca, a founding partner since 1998, forged his experience in the fast-paced world of over 60 political campaigns before leading the development of feature films and series. Beside him is Emilia Benzo, the strategic brain behind content production and alliances with giants such as Netflix, Paramount+, and MGM.
What began as an exchange of projects at Ventana Sur transformed, years later, into total synergy. “One enters into a kind of marriage that lasts at least three to six years,” explains Moisés Sepúlveda, partner at JUNTOS. This vision is shared from the other side of the Andes by Emilia, who recalls that their reunion in 2024 was definitive: “Our companies were in a similar place, eager to take on industrial challenges without discarding our auteur brand”.
The relationship was sealed with Que Se Acabe Todo. In a move unusual for the industry, Jaque Content joined the project just months before filming. Felipe Egaña describes it as “an act of great trust and love for the project”. The Argentine partners traveled to Chile, were present on set, and are now leading the post-production from Córdoba.
Daniel emphasizes that this bond is a response to the harsh reality of the market: “Today, if cinema is not made through co-production, it is almost impossible to carry out. With JUNTOS, there is a fundamental empathy; we are linked by an idiosyncrasy and a way of seeing cinema that makes us much more similar to each other than to Europe, for example”.
What’s Next? Ibermedia
The alliance does not stop at financial drama. With the submission of ¿Y Ahora Qué? to Ibermedia, JUNTOS and Jaque Content seek to validate a new thesis: the romantic drama with an auteur background.
The film, directed by Fernando Lavanderos (Eterno, 2025; Las Cosas Como Son, 2012), was recently submitted to Ibermedia. More than a simple development fund, the instance acts as a seal of legitimacy and an industrial unifier for Spain, Portugal, and Latin America.
This co-production bet explores a genre previously untouched by JUNTOS and Jaque Content. The story follows Gabriel and Ana through three decades of Chilean history under a “pact of intermittency”: encounters ruled by chance, without commitment, and with sex as the only condition.
For Pancho Hervé, this search responds to a clear editorial line: “We want auteur films that dialogue with commercial genres. Viajero Inmóvil was about zombies, Una Señora Invisible was horror, and now we explore romance”.
From Argentina, the vision is equally ambitious. “We built this alliance so that projects can travel,” explains Emilia. “Lavanderos’ project called to us through the challenge of a romantic film with popular appeal, but with a deep background”.
Winning a transnational fund is a “stamp of prestige,” as Moisés points out. It indicates that the project has been validated by international juries and opens doors in global markets. For Lambrisca, the final result speaks for itself: “Today, cinema is a team effort across different latitudes that adds quality to the final product day by day”. Ultimately, the Andes have ceased to be a barrier and have become the bridge upon which the new Latin American cinema is built.