In recent years, audiovisual production in Central America has experienced uneven growth. Some countries have managed to increase their production and have garnered awards and international recognition among their audiovisual creators. At the same time, and very quietly, they have made progress in protecting their author’s rights, while others face economic and political challenges that hinder their development.
Although Panama is among the Central American countries with the most advanced audiovisual development, it has already been individually addressed in this section through the report titled Panama: the challenge of consolidating local productions and asserting the rights of its authors.
In this Special Spotlight, we will focus on Guatemala, Honduras, El Salvador, Costa Rica, and Nicaragua. While they each face distinct realities, they all share a common need: to strengthen their audiovisual industries through adequate financing, efficient regulatory frameworks, and greater dissemination of their productions both nationally and internationally. Countries such as Costa Rica and Guatemala have built an audiovisual scene with international recognition, while Honduras and El Salvador are still struggling to establish a more structured industry, despite having talented directors and new legislative initiatives.
The recent Honduran Cinematography Law and Costa Rica's efforts through its Film Production Center are examples of attempts to improve the sector’s conditions. However, in Nicaragua, government restrictions have created an adverse environment for independent production, putting filmmakers' creative freedom at risk.
The rights of audiovisual authors also remain a key issue in the region. Although most of these countries have laws that protect intellectual property, their effective enforcement remains a challenge. The fight for fair remuneration and more equitable working conditions is ongoing, while opportunities emerge in festivals, international co-productions, and new distribution platforms. The sector's evolution will largely depend on public policies that encourage local production and greater regional integration to strengthen the presence of Central American cinema on the global stage.
Costa Rica: A Newly Approved Law Marks a Fundamental Step
The audiovisual sector in Costa Rica is experiencing sustained growth, with a Cinematography and Audiovisual Law approved in February that brings hope to the country's film industry.
In an interview with AV Creators News, director and screenwriter Patricia Velásquez Guzmán stated that "this is the best moment in the history of Costa Rican cinema due to the constant production," with around ten fiction feature films being made per year—an unprecedented figure in the country. However, this development faces significant challenges, particularly in terms of funding, heritage preservation, and the recognition of audiovisual creators' rights.
Over the past decades, Costa Rican cinema has gone through ups and downs. It was not until 2006, with the release of Caribe, that feature film production resumed, reaching a steady number of annual releases today. Nevertheless, the recent approval of the Film Law could change the course of history.
With a comprehensive approach, the legislation establishes tax incentives aimed at attracting foreign investment and strengthening national production, while also ensuring funding for projects that reflect the country's cultural identity.
Additionally, the law includes measures for training new talent, ensuring that film and audiovisual professionals have greater access to education and resources that enable them to compete in the international market. Another key aspect of this legislation is the reinforcement of author’s rights protections, a long-standing demand of the sector. With this legal framework, Costa Rican creators will have greater protection over their works and receive fair compensation for their work.
Furthermore, the law promotes improvements in audiovisual infrastructure, which could position Costa Rica as an attractive destination for international productions. In a context where Costa Rican cinema has gained visibility at prestigious festivals, this legislative progress could be the decisive push to consolidate a sustainable and competitive film industry.
Medea (Alexandra Latishev, 2017)
"Without a doubt, this is good news because, until now, it had been impossible to pass a film law due to strong opposition from cable providers and exhibitors, who have significant political influence," explains Velásquez Guzmán. Interested in historical memory, she has directed the documentary series Algunos lugares (2018), which explores the work of national poets, and Contemporáneos (2020), a six-episode series on the origins of the Costa Rican literary movement.
Until the law was passed, film financing in Costa Rica came from two sources: the state fund El Fauno, which grants up to $100,000 for production and $10,000 for development, and the Ibermedia program, to which the country continues to contribute. Despite these resources, most projects rely on international co-productions to be viable. "Here, post-production is always done abroad," the director notes, highlighting one of the industry's major local shortcomings.
One of the most significant provisions of the new law is the creation of a National Film Archive, described as a “department of the Costa Rican Center for Film and Audiovisual Arts, responsible for film and audiovisual literacy.”
This entity will oversee the restoration, preservation, safeguarding, and dissemination of national cinematic and audiovisual heritage, as well as international works of significant cultural value. Additionally, it will serve as a specialized research center and house a documentation and information hub focused on audiovisual endeavors.
In terms of exhibition, the success of Maikol Yordan de viaje perdido (Miguel Alejandro Gómez) in 2014, with 800,000 viewers, set a benchmark that no other film has since reached in Costa Rica. The film’s sequel attracted 300,000 viewers, but overall, audience numbers remain low in a country without a fully developed film industry. "Practically everyone making films here is doing it as a hobby, as they also have a stable job elsewhere," emphasizes the director, who this year took on the role of director of the Costa Rica International Film Festival (CRFIC), ushering in a new era for the promotion and distribution of Costa Rican cinema.
Despite these challenges, Costa Rican cinema has gained significant visibility at international festivals. "It feels like there are more films than there actually are," says Velásquez Guzmán, highlighting the presence of local productions at Cannes, Berlinale, and Locarno.
However, budget cuts within the Ministry of Culture have impacted the sector. The Costa Rica International Film Festival has faced funding reductions, and support for training and participation in workshops has significantly decreased. This has led to a migration of audiovisual professionals seeking better opportunities, primarily in Mexico. "Between last year and this one, around twenty people may have left, which is a significant number for such a small country," warns the director. Among her most notable works are Dos Aguas (2015), a Costa Rica-Colombia co-production; Apego (2019), made in collaboration with Chile and awarded the National Culture Prize for Best Direction in 2019, as well as the Audience Award at the Las Américas Film Festival in 2020; and La piel del agua (2024), which received accolades at the 27th Ícaro Central American International Film Festival in 2025, including Best Sound Design, Best Cinematography, and Best Female Performance.
Documentary filmmaking in Costa Rica has had a more continuous history, gaining significant momentum in the 1970s through state production via the Film Center. However, censorship and lack of support gradually weakened this tradition.
In terms of fiction, the most notable productions of the 21st century have been directed by women, such as Tengo sueños eléctricos by Valentina Maurel, Medea by Alexandra Latishev, El camino by Ishtar Yasin Gutiérrez, and Agua fría de mar by Paz Fábrega, which won the prestigious Tiger Award in Rotterdam.
One of the sector’s biggest challenges remains the lack of a strong guild organization to represent audiovisual creators and defend their rights. "There are some associations, but none that manage author’s rights," acknowledges Velásquez Guzmán. Existing groups, such as those for documentary filmmakers, women directors, and producers, have worked on parity initiatives and the promotion of a film law. However, much remains to be done in terms of author’s rights and audiovisual sector regulation.
Costa Rica finds itself at a crucial stage in its cinematic development. While production has increased and films have gained international recognition, the lack of adequate funding, technical infrastructure, and a legal framework that protects audiovisual creators remains an obstacle to establishing a stable industry. In the words of Patricia Velásquez Guzmán: "The past was always worse," a statement that, while acknowledging progress, also makes it clear that much remains to be done for Costa Rican cinema to reach its full potential.
Honduras: A Road to Travel
Honduran cinema has come a long way since its first production in 1962, evolving into a growing industry driven by new laws and funding initiatives. Laura Bermúdez, a Honduran director who has helmed 11 documentaries that have earned awards at various international festivals—establishing her as one of the most prominent filmmakers in the region—shares her insights with AV Creators News on the development of Honduran cinema, the challenges it faces, and the opportunities ahead.
The history of Honduran cinema begins in 1962 with the short film Mi amigo Ángel, directed by Sami Kafati, regarded as the pioneer of national cinema. Influenced by Italian neorealism, Kafati sought to portray Honduran society in his works. His feature film No hay tierra sin dueño, completed posthumously and premiered in 2003 in a parallel section of Cannes, remains one of the most emblematic works of Honduran cinema.
"We can say that cinema in Honduras had a late start when placed in the context of film history," explains Bermúdez, whose documentary Negra soy won the Audience Award in the Affirming Women’s Rights section at the Málaga Spanish Film Festival in 2018 and was part of the official selection at the Sheffield International Documentary Festival in England.
Until the approval of the Film Law in 2019 and its implementation in 2020, film production in Honduras was mainly self-financed or relied on private sponsorships. "Cinema in Honduras has a before and after the approval of this law," says Bermúdez. This legislation enabled the creation of the Honduran Institute of Cinema (IHCINE) and the Film Development Fund (FONDECI), opening the door for Honduras' participation in Ibermedia, the most important regional fund in the area.
Despite these advancements, Bermúdez acknowledges that the results are still in progress. "The first films funded with these funds are in production or post-production. There has been a boost in short films and documentaries, but the impact will be more noticeable in the coming years."
One of the major obstacles to the consolidation of the film industry in Honduras is the lack of specialized training. "There is no film school or university program at the Universidad Autónoma de Honduras. The Honduran Institute of Cinema has bet on workshops, but they are short-term," says the director, who is in the final stages of production for her first feature film, "Allá donde nace el sol," a project that has taken a decade to develop and was shot in 2021 in the areas of Iriona, Colón.
The San Antonio de los Baños School in Cuba has been the main training center for Honduran filmmakers. "Recently, several Hondurans have studied there, strengthening areas like photography and sound," Bermúdez highlights.
Laura Bermúdez, Honduran director
Currently, FONDECI provides state funding through annual calls for proposals. "Opportunities have been opened for feature films, short films, and series. In the last two years, several Honduran projects have been awarded by Ibermedia, which shows that something important is happening," says Bermúdez. Additionally, the first Honduran co-production with another country ("Eva," directed by William Reyes and produced by Ana Martins) is a milestone marking the growth of the industry.
However, self-management remains key. "Some filmmakers have secured funding abroad. In my case, I obtained funds from the Mexican Institute of Cinema for my first feature film," she explains.
The lack of knowledge about author’s rights is another issue facing the industry. "There is an author’s rights office, but there are few lawyers specialized in the film sector," warns the director. "We want to open ourselves to international co-productions, but we lack the legal knowledge to manage these agreements."
Regarding the participation of women in Honduran cinema, it has historically been low. "In 2018, out of approximately 50 feature films released in theaters, only one was directed by a woman," says Bermúdez.
To change this situation, the Honduran Female Filmmakers Collective was created in 2018. "We organized ourselves to promote women's participation in the industry. We secured funding for a diploma program called Una Mirada Propia, now in its sixth edition, and we also organized the Ibero-American film showcase El Sueño de Alicia, which is in its seventh edition." Progress is evident. "More and more women are winning calls for funding from the Honduran Institute of Cinema. But historically, women have been relegated to roles in production, makeup, and wardrobe. There's still a long way to go for more female directors and screenwriters," she points out.
Currently, the Collective is in the process of becoming an association with legal status and has requested a space in the National Film Council, where there is still no female representation.
Honduran cinema has also seen growth in its guild organization. "There are associations like Linterna Mágica and the Honduran Film Industry (ICH), which promoted the creation of the Film Law and have a seat on the National Cinematographic Council," explains Bermúdez. Recently, APCA, an association of producers, was created to strengthen the film business sector.
With new funding opportunities, a push for female participation, and guild organization, the country is taking firm steps. However, challenges in training, author’s rights, and gender equity remain pending obstacles on the path of Honduran cinema toward international recognition.
Guatemala: Lack of state support and many challenges ahead
Guatemalan cinema has experienced notable growth in the last two decades, consolidating itself as an emerging industry in Central America. With a past marked by censorship and lack of state support, today Guatemalan audiovisual creators have managed to position their works in international festivals and open new opportunities for the local industry.
Director Jayro Bustamante, one of the most recognized names in Guatemalan cinema, has brought the country's cinematography to global stages with films such as Ixcanul (2015) and La Llorona (2019), both widely awarded, and Rita (2024), his latest production, which was pre-selected to represent the country at the Oscars. "Cinema in Guatemala has found its own voice, despite the structural limitations we still face," said the director to CineLatino.
The history of cinema in Guatemala dates back to the 1950s, but professional film production started to gain momentum in the 2000s with works like Gasolina (2008) by Julio Hernández Cordón, which marked a turning point for the country's audiovisual narrative.
However, the lack of a film law has been a constant obstacle. Unlike neighboring countries like Costa Rica and Honduras, Guatemala still lacks a legal framework to regulate and promote the industry. "The absence of fiscal incentives and structured funding forces us to seek resources abroad," commented Bustamante, who has worked on co-productions with France and Mexico to advance his projects.
One of the main challenges in the sector is professional training. Currently, there is no public film school in Guatemala, forcing many filmmakers to seek training abroad, primarily at the San Antonio de los Baños Film School in Cuba or private academies.
Julio Hernández Cordón (photo: David Heischrek) - Gasolina (2008)
Nevertheless, initiatives like the Ícaro Festival have been key to the development of new talent and the promotion of Guatemalan films. Founded in 1998, the Ícaro Festival has been an essential platform for regional cinema, boosting the recognition of emerging directors and providing exhibition spaces for local productions.
Despite the lack of state support, Guatemalan cinema has managed to forge its way through self-management and international collaboration. In recent years, documentaries such as Los ofendidos (2016) by Marcela Zamora and 1991 (2021) by Sergio Ramírez have addressed historical and social issues with depth, resonating with audiences. The rise of social protest cinema has been one of the main features of contemporary Guatemalan cinema, shedding light on issues such as racism, violence, and the country’s historical memory.
1991 (Sergio Ramírez, 2018)
The role of women in the Guatemalan film industry has also been on the rise. Directors like Anaïs Taracena have made a mark on the international scene with works like El silencio del topo (2021), a documentary that received awards at festivals like Málaga and Cinéma du Réel in France. "Women have had to carve out space in a predominantly male industry, but we are managing to tell our stories with greater visibility," Taracena said in an interview with LatAm Cinema.
In terms of distribution, Guatemalan filmmakers face the challenge of accessing exhibition spaces within the country. Commercial theaters continue to be dominated by Hollywood productions, and alternative circuits are limited.
In this situation, streaming platforms have served as a way for national productions to reach a wider audience. "Streaming has given us an opportunity that didn’t exist before. Now our films can be viewed outside of Guatemala without depending on local theaters," highlighted Julio Hernández Cordón.
El silencio del topo (Anaïs Taracena, 2021)
Despite the challenges, Guatemalan cinema continues to move forward with determination. With the support of festivals, international co-productions, and the rise of new voices, the industry is in a phase of consolidation. However, the need for legislation that promotes national production remains one of the major debts of the state with the audiovisual sector. "Without a film law, the growth of Guatemalan cinema still depends on individual efforts. It’s time for the country to bet on its own narrative," concluded Bustamante.
The lack of a specific film law limits access to fiscal incentives and stable financing for filmmakers, making it difficult to develop the industry. However, there are efforts by cultural organizations and film festivals to promote national production. The author’s rights legislation in Guatemala protects audiovisual works, but the effective enforcement of these laws is limited. Piracy and the lack of organized collective management are common problems affecting creators. Efforts are being made to improve author’s rights protection, but greater institutional and social commitment is needed to strengthen the situation.
In this context, the Guatemalan Audiovisual and Cinematographic Association (AGAcine) has played a key role in the fight for the formalization of the film sector in the country. Founded in 2007, AGAcine brings together producers, directors, technicians, and workers linked to cinema with the goal of strengthening the industry and developing an appropriate regulatory framework. Since its foundation, it has worked on promoting the Film and Audiovisual Industry Law, a regulation aimed at regulating and promoting film production and preserving Guatemalan audiovisual heritage.
Ixcanul (2015) and its director Jayro Bustamante
As for women-made cinema, Guatemala has experienced significant growth in recent years. Although they still face challenges such as lack of funding and limited access to opportunities, there is a growing number of female directors making important contributions to Guatemalan cinema.
Films and documentaries directed by women address relevant social and cultural issues, offering unique perspectives on the Guatemalan reality. Film festivals and diversity support programs have helped to showcase the work of these directors, fostering a positive change in the industry.
All the actors involved in the audiovisual sector agree that the implementation of more effective policies and institutional support would be key to developing more sustainable and diverse productions in a country with talent and thousands of stories to tell.
Nicaragua: Cinema as a form of resistance
Nicaraguan cinema has traveled a path marked by resistance and the struggle for freedom of expression. Despite its rich narrative potential, the country's political context has been a constant obstacle to the development of the audiovisual sector. Under the authoritarian regime of Daniel Ortega, Nicaragua faces restrictions that severely affect culture and film production. Nevertheless, some directors have found ways to navigate censorship and bring their stories to the big screen, often turning to digital platforms and international festivals.
Cinema in Nicaragua had a boom in the 1980s with the creation of the Nicaraguan Institute of Cinema (INCINE), which promoted the production of documentaries and films focused on the Sandinista revolution. However, with the arrival of the 1990s and the dismantling of INCINE, audiovisual production suffered a significant blow. From the 2000s onwards, new filmmakers began to emerge with independent productions that reflect the country's social and political reality.
Films like La Yuma (2010) by Florence Jaugey and Dos Fridas (2018) by Ishtar Yasin Gutiérrez have managed to position themselves in international festivals, demonstrating the quality and potential of Nicaraguan cinema. However, the lack of a support structure and funding for the industry remains a challenge.
La Yuma (Florence Jaugey, 2010)
The biggest obstacle for cinema in Nicaragua is censorship. Since the sociopolitical crisis of 2018, the government has intensified repression against any artistic expression that criticizes the regime. Many directors, screenwriters, and other artists have been forced into exile or have faced persecution for addressing sensitive topics such as human rights violations and corruption. In this context, film production has become an act of resistance.
The absence of a film law exacerbates the situation. Unlike other countries in the region, Nicaragua lacks a legal framework that promotes audiovisual production or provides tax incentives or state support. "Cinema in Nicaragua is a constant battle against censorship and lack of resources. We face governmental indifference and, in many cases, the fear of telling our own stories," said a Nicaraguan director who preferred to remain anonymous for safety reasons.
In the absence of exhibition spaces and the government's control over the media, many filmmakers have turned to digital platforms to distribute their films. International festivals and alternative circuits have become the main exhibition windows for Nicaraguan cinema. Documentaries like Nicaragua, patria libre para vivir (2021) have been censored within the country but have found an audience abroad.
Dos Fridas (2018) an its director, Ishtar Yasin Gutiérrez
Socially conscious cinema has gained special relevance, with productions documenting the repression and human rights violations in Nicaragua. These films aim not only to raise awareness but also to serve as a historical record of the Nicaraguan people's resistance.
Cinema made by women in Nicaragua also faces challenges in an adverse environment. Directors such as Florence Jaugey have paved the way for new voices seeking to tell stories from a different perspective. "Making cinema in Nicaragua as a woman requires double the effort: we face both political censorship and sexism in the industry," said the director during a conversation on cinema and human rights.
The diaspora of filmmakers has allowed Nicaraguan stories to be told from abroad, with productions reflecting the identity, struggle, and hope of the people. However, the future of cinema in Nicaragua will largely depend on the possibility of recovering spaces of freedom and creating support mechanisms for audiovisual production.
El Salvador: Lack of Support in a Difficult Political and Social Context
Salvadoran cinema is one of the least developed in Latin America. With just over 6 million inhabitants, film production in the country is minimal, with only a few films made per year, and even fewer with international distribution opportunities. The development of a national cinema requires state backing in three fundamental areas: filmmaker training, production financing, and the preservation of audiovisual memory.
However, in El Salvador, these three aspects are absent. In a conversation with AV Creators News, director Julio López explains that "in El Salvador, we lack all three." There is no established public or private film school offering a degree in cinematography. This forces Salvadoran filmmakers to train abroad and, in many cases, remain outside the country. This situation hinders the creation of a continuous generation of filmmakers who can compete in international markets.
"Almost all the filmmakers who have produced in the last 20 years have gone abroad to study and then return. Or sometimes, they don’t even return, they just come back to film," explains López, who gained recognition with his debut film La batalla del volcán (2018), a documentary feature that addresses the 1989 guerrilla offensive in El Salvador.
Julio López, Salvadoran director
Another structural problem is the absence of a legal framework and state funds specifically for cinema. For a brief period, the Pixels Fund, managed by the Ministry of Economy, allowed the production of some Salvadoran films. However, this fund disappeared and had significant limitations. "It was a fund with specific rules for the production of commercial products. But cinema with a national identity perspective should not be subjected to commercial schemes," the director notes.
Since then, the only access to funding comes from Ibermedia, an international fund that El Salvador recently joined, although these funds have high technical requirements and demand coproductions, making them difficult to access for emerging filmmakers with limited resources. "We were one of the last countries to join Ibermedia, but its requirements make it hard for just anyone to access these funds," says López, who in 2023 presented Añil, a documentary exploring the testimonies of Salvadoran women who suffered abuse and sexual violence during the country’s armed conflict.
There is also no national film archive or alternative spaces where the public can access local, regional, or international productions outside of the commercial circuit. "We don’t have options to watch films in good-quality theaters that aren't commercial ones," laments López. The lack of a local distribution network limits the reach of Salvadoran cinema to its own audience and reduces its impact on society. "The impact we have, compared to the overwhelming presence of Hollywood and streaming platforms, is very little. It could be much more, and that is one of the pending debts we have as a Salvadoran society to the arts in general," reflects the director.
La batalla del volcán (Julio López, 2018)
In the current political context, restrictions on freedom of expression also affect cinema. "The entire government apparatus tightly controls the narratives in El Salvador. I don’t see possibilities for financing independent and artistic cinema in the country," warns López. The lack of state funding, combined with increasing control over public discourse, makes it difficult to produce works that address critical realities or that do not align with the official narrative.
Still, the Salvadoran film community remains active. The Salvadoran Film Association (A Cine) has worked on organizing the sector, though without state support. "Since I’ve been involved in the local scene, for 15 or 20 years, there have been moments of greater and lesser organization, but the association has survived several governments," comments López.
Salvadoran cinema has shown its potential in the documentary realm, especially on topics of historical memory, contributing to the construction of national identity. "We’ve made a lot of documentary work on historical memory, which has contributed to identity-building processes in Salvadoran society, but it’s still very little," acknowledges the director.
In the future, the development of cinema in El Salvador will depend on the implementation of solid cultural policies, with adequate funding and exhibition spaces. "There doesn’t seem to be much progress. There are no funds, no film school, no film law, no national film archive. And that means there is no structure for Salvadoran cinema," concludes López.
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