When in 1993 the Cinema Club at Universidad Austral de Chile celebrated 30 years in operation, their members decided to commemorate the anniversary organizing a film festival. The reception that this small program garnered served as the impulse for the first Valdivia Film & Video Festival, in 1994. This began outlining and giving continuity to an initiative that today spans 24 years of uninterrupted activity.

In 1998, under the direction of Lucy Berkhoff, Valdivia Film & Video was rechristened the Valdivia International Film Festival, and the bases were set for a broader, more ambitious project, aimed at supporting and promoting a program at the forefront world cinematography, projecting the festival as a fundamental reference point for Chilean cinema.

In 2002, the Valdivia Cultural Center for Film Promotion (CPCV) was born, in alliance with CORFO and a group of Valdivian businesses linked mainly with tourism. The focus of this non-profit organization is the development and expansion of the audiovisual arts, and as such, it promptly began collaborating with FICValdivia, developing parallel activities comprising the recovery of audiovisual heritage, travelling shows, training and others linked with the advancement of the audiovisual development in the region, initiatives that characterize the festival until today.

In November 2006, the Directive Council at Universidad Austral entrusted the execution of the festival to CPCV, which in conjunction with the Great City of Valdivia and the Regional Government, came to insure FICValdivia operations, from that moment on. By partnering civil society with academia and public organizations behind this singular purpose, an institutional framework – unprecedented for this kind of events in the country – was born, cementing the festival and orienting and broadening its work towards the entire regional territory, and incorporating new issues of citizen concern.

Renowned Universidad Austral professor Guido Mutis became festival director. His contribution was the professionalization of the event, as well as instituting a marked emphasis in program quality, setting the basis for the new process that was beginning. His untimely passing, only a few months before the 15th edition of the festival, was a hard blow for FICValdivia, but his legacy made it possible for the event to take place normally and to great success.

In 2010, noted film producer Bruno Bettati took over as FICValdivia director. His seal was linking the festival to contemporary independent cinema in a more decided manner, internationalizing it, while at the same time strengthening Valdivia as an industry platform.

In 2014, after a 4-year tenure, Bruno Bettati left the festival to take on new challenges, and Raúl Camargo, who had been in charge of programming for the past 7 years, came on as the new director.

His direction has been characterized by strengthening a deeper cohesion between FICValdivia and CPCV endeavors, becoming part of their programming and audiences team. Likewise, he has put added emphasis in the relationship between the festival and the community, in issues that pertain to social reflection and inclusion, which has translated into an activities program that takes place year-round, covering the entire territory in Los Ríos.

In regards to FICValdivia programming, the latest editions of the festival have seen the maturation of a strategy that consists of including in the Official Selection, films with a marked authorial vision, premiered recently in non-competitive sections at the most prestigious festivals around the world. Together with increasing the amount of Latin American premieres, this has allowed many films to begin collecting accolades in Valdivia, later moving on to receive multiple international awards, thus increasing in a short period of time, the reputation of authors and movies that Chilean audiences have had the chance to watch first.

Likewise, the festival has promoted the development of a diverse program that is capable of appealing to the sensibilities and tastes of a wide audience, contributing to bringing cinema closer to all. Sections such as Technicolor Classics, Totally Wild, Erotic VHS and Nocturama, the tributes to renowned filmmakers in classical cinema, and the FICVin series of features and shorts for kids are part of this drive to offer a broad, accessible and attractive panorama of the audiovisual arts.

In recent years, FICValdivia has intensified efforts to strengthen its institutional framework and guarantee its funding, with the objective of insuring continuity over time, as a space that has become traditional for local and foreign authors and industry, as well as for increasingly diverse audiences. Each FICValdivia edition is a new opportunity to converge around cinema, in this necessary multiplicity of visions.

Some films that have received the Golden Pudú in recent years: