Colombia's Cinema Boom: New Mega Soundstage Fuels 'Narcos' Star's Success at Soaring Bogotá Market

The 17th Edition of the Bogotá Audiovisual Market (BAM) concluded on July 10, reporting a significant increase in attendance and a vibrant array of industry activities. The event drew 2,336 accredited participants and hosted 271 industry activities, including 882 one-on-one business meetings designed to connect selected projects with international guests, advisors, and potential partners. Carlos Eduardo Moreno, BAM director, highlighted Colombia's capacity to tell world-class stories and bring them to global audiences, expressing confidence that many projects would leave the market stronger and closer to realization as future films, series, and audiovisual experiences. The five-day event was packed with panels, masterclasses, and training sessions, pausing only briefly when Colombia played against Switzerland in the FIFA World Cup semi-finals on July 8, during which Bogotá's usually traffic-clogged streets fell silent.

This year’s BAM awarded 70 in-kind prizes from national and international partners across various categories such as Fiction Films, Documentaries, Series, Rough Features, Animation, Rough Shorts, and Bammers. Among the notable winners were José Luis Rugeles and Ana María Tarazona of Rhayuela, who garnered five awards for their TV series project, “Rookies” (“Oficina de Detectives”). In the documentary feature category, “La Sombra de Yolüja” by Hanz Rippe Gabriel and Fernanda Pineda, and “De la Villa” by Mónica Taboada and Beto Rosero shared top honors. Agamenón Quintero’s “De naranjas y otros demonios” was the most recognized fiction feature. Organized by Proimágenes Colombia and the Bogotá Chamber of Commerce, BAM reaffirmed its crucial role as a driving force for Latin America’s audiovisual sector.

Coinciding with BAM, significant developments in Colombia’s production infrastructure were announced, underscoring the nation's growing appeal as an audiovisual hub. TIS Studios, a renowned facility that has hosted numerous high-profile projects, unveiled Stage 7, a massive 18,300-square-foot soundstage. This new addition, designed to accommodate large-scale international film and TV productions, is not only Colombia’s largest soundstage but also one of the biggest in Latin America, standing 40 feet high. Samuel Duque, president of TIS Studios, emphasized the studio’s nearly three decades of expertise, highly trained crews, international production standards, and large-scale project management protocols, all complemented by Colombia’s attractive production incentives. TIS Studios has a proven track record, having delivered premium content for major global platforms and networks including Netflix, Amazon, Disney, Paramount, CBS Studios, MTV, Fox Television Studios, Nickelodeon, NBCUniversal, and Telemundo.

The visual effects (VFX) sector also showcased impressive growth. Folks Bogotá, a VFX company led by Andrea Espinal, has successfully attracted a substantial number of international projects, primarily due to its competitive rates and the talent pool in Colombia. The studio has contributed visual effects to high-profile productions such as Netflix’s “One Hundred Years of Solitude,” Taylor Sheridan’s “1883” and both seasons of “Lioness,” Rodrigo Prieto’s directorial debut “Pedro Páramo,” AppleTV’s “The Morning Show,” and the survival horror film “Boiúna: Legend of the Amazon.” Launched in 2019, Folks Bogotá initially supported its Montreal team before evolving into a full-service studio for major Latin American and international titles. Similarly, Loma, another burgeoning VFX company with a history as a family-owned rental equipment business, has expanded into virtual production. Their 200-square-meter virtual production studio integrates custom LED volumes with real-time technologies like Unreal Engine, camera tracking, and media servers to deliver in-camera VFX and extended reality (xR) productions. Managed by COO Francisco Forero, this Bogotá-based facility services feature films, series, commercials, live broadcasts, and R&D projects, offering filmmakers a cutting-edge environment. Among their serviced projects are Netflix’s “The Hijacking of Flight 601,” SPT’s “Hasta que amanezca,” and Dago Prods’ “Como perderlo todo,” as well as BAM’s immersive audiovisual installation, Vaivén. Notably, Netflix is a major client for TIS, Folks, and Loma, continuing to expand its slate in Colombia and recently appointing Ana Maria Londoño as Head of Content in Bogotá.

During a compelling BAM Talk, Venezuelan filmmaker Mariana Rondón shared insights into her cinematic journey, from her acclaimed “Bad Hair” (“Pelo malo”) to her latest feature, “It Would Be Night in Caracas.” Rondón revealed that her creative path began unconventionally with a decade-long exploration of genetics through art, culminating in an installation that produced only 12 seconds of moving imagery. This process profoundly shifted her understanding of cinema, emphasizing that powerful stories can originate from a single image rather than solely from a script, highlighting the emotional potency of visuals. The Venezuelan exodus subsequently influenced her artistic focus, as she described witnessing people walk from Venezuela to Chile as an almost biblical experience, prompting a re-evaluation of identity, belonging, and the possibility of a future. When unable to film “It Would Be Night in Caracas” in the Venezuelan capital, Rondón and co-director Marité Ugas meticulously recreated the city in Mexico, engaging hundreds of displaced Venezuelans in the production. During scenes depicting protests, the lines between fiction and reality blurred, necessitating psychological support for participants who were reliving their own traumatic experiences. Ultimately, the film became an act of reconstruction, a means to reconnect with a lost country and explore identity through the cinematic lens, a question Rondón believes is fundamental to filmmaking.

A new industry study presented at BAM shed light on a critical challenge amidst Colombia’s booming film sector. The study affirmed the historic positive impact of Film Law 814, which, through the Film Development Fund (FDC) and tax incentives, has transformed Colombia into a vibrant production hub. Between 2015 and 2025, Colombia released 548 feature films, a stark contrast to approximately two per year before 2003. Public support and tax incentives funded over half of these productions, attracting around $160 million in private investment. However, the study also revealed a significant issue: this production growth has not translated into stronger, sustainable companies. A concerning 75% of production houses supported by the FDC or tax incentives did not return for a second project, indicating a struggle to build long-term capacity. With most companies operating with only two employees and cinema representing only a fraction of their total revenue, the report warns that Colombia is adept at financing films but has yet to build resilient film businesses.

To address this, the study proposed 12 strategic recommendations, including expanding funding mechanisms, enhancing tax incentives, bolstering distribution and promotion efforts, and acknowledging the operational costs essential for developing robust production companies. Producer-director Cristina Gallego (“Birds of Passage”), who led the panel, stressed the need for a more integrated approach to film policy. She noted that while Colombian films now exist—a priority 26 years ago—their market share remains minimal, and they struggle to reach audiences. Gallego advocated for embracing technological change within financing strategies and moving beyond fragmented interests, recognizing that screenwriters, regional filmmakers, industry workers, festivals, producers, distributors, and public institutions (including the ministries of culture, education, technology, and commerce) all have a stake in the audiovisual sector but often operate independently. Without a sustainable ecosystem that supports both production and distribution companies, as well as the individuals who drive the industry, long-term growth for Colombia’s audiovisual sector will remain unattainable.