Tercer Mundo

Now Cesar Caro tells us about his movie "Third World":

I wanted to make a film across three countries that are very close to my heart: Chile —my homeland— and Costa Rica and Bolivia, two fascinating nations where I have lived and worked, and whose people I deeply respect. Interestingly, all three countries are also known for frequent UFO sightings, which became the central theme that inspired the film.

The idea for the movie first took shape while I was traveling through Costa Rica a few years ago. Locals were talking about USOs —Unidentified Submarine Objects— describing in vivid detail how mysterious lights emerged from beneath the surface of the water and shot into the sky. I was captivated by their stories and started taking notes for a possible screenplay. As I began writing, I instinctively connected those accounts with a solar eclipse I had once witnessed in the Bolivian highlands. I remember standing among a large crowd waiting for the eclipse, listening to conversations about its spiritual significance for the indigenous Aymara people. For them, the eclipse symbolizes the death of the sun god, Inti —a moment so sacred that it is honored with rituals. There were even rumors that UFOs might appear during the eclipse. Although I didn’t witness any lights, the experience forever changed how I perceived nature and the unknown. These stories and memories stayed with me for years and eventually became the raw material for Tercer Mundo (Third World).

The film explores themes I believe are at the core of Latin American identity —particularly the idea of expecting things from elsewhere. In pre-Columbian rock art, for example, we often find depictions of beings or objects descending from the sky. Throughout history, Latin America has witnessed the arrival of “the Other” —whether it be conquistadors, multinational corporations, or even extraterrestrials. This constant encounter with the foreigner —arriving by land, sea, or sky— is a compelling framework for a film that blends reality and fantasy, offering a new perspective on the so-called “Third World.”

Production took about a year, since we had to spend three to four months in each country. With a low-budget film, we couldn’t afford to revisit locations if something went wrong —especially when filming on beaches, volcanoes, or at 4,000 meters above sea level in the Andes. Fortunately, nature was on our side. In Costa Rica and La Paz, where clouds and rainstorms are common, the skies cleared whenever we were ready to shoot. The local crews were amazed —they couldn’t believe our luck. It was as if nature was supporting low-budget filmmaking.

From the beginning, Tercer Mundo was a difficult film to make. Most people didn’t believe in the project —it was too strange, too ambitious, too expensive to shoot in three different countries. But with passion and persistence, we made it happen. We developed a production plan that leveraged our experiences and connections in Chile, Costa Rica, and Bolivia. In each country, we built a network of friends, filmmakers, and enthusiastic collaborators willing to join the adventure. With a screenplay in hand and two backpacks, Ana Lucía (the cinematographer and producer) and I (as screenwriter and director) set out to shoot the film. In every country, we had to start from scratch —casting, location scouting, assembling the crew. It was like making three separate feature films, each in a different country. It was a challenging but unforgettable journey, full of remarkable places and people.

Technically, we used the Sony Z1, a camera that provides solid quality and can be effectively transferred to 35mm. Since the film follows three young adults in three different countries and landscapes, we wanted each setting to have its own visual identity. We designed a distinct color palette and atmosphere for each region to highlight its uniqueness.

Regarding film distribution, it’s increasingly difficult for Latin American films to secure traditional theatrical releases, especially in 35mm. Competing with Hollywood’s marketing budgets is nearly impossible. But I believe the future lies in digital cinema and online platforms —that’s where the new possibilities for independent films are emerging.

I want to invite all cinema lovers to discover Tercer Mundo. It will soon be available on DVD. This film is proof that with little money —but a lot of passion— it’s possible to create stories that cross borders and challenge stereotypes about what "Latin American cinema" is supposed to be. When actors, crews, and artists from different countries come together, they can shape something truly unique —a vision that redefines what it means to be part of the Third World.