Last night I read a story of a woman consumed by boredom wrote letters while riding in a hot air balloon. As the days passed, most enjoyed the journey and letters larger in their criticism and suggestions on the progress of humanity, this with an enviable comic lightness. In this range I would emphasize the relationship between logic and coherence understood, the logic goes looking in the same way the goal and the goal is consistency. From this view might say that the Chilean government follows its own logic, but progress is slow or has been stalled by a dam as big as mountains. And what is done in this case Best not to rush. In audiovisual cultural policy can verify this. Locked in a time machine. How has advanced Chilean film history that began in 1990 Does the chapter in which the filmmakers met for the first time after 21 years under the 3rd Festival de Cine de Vi a del Mar That day there was a dialogue (published in the Journal CINEMA, December 1990) where he exhibited all the problems of the sector, including the fear of being manipulated by an invisible hand to replace the military Huaraca. In short, they agreed that in Chile there audiovisual industry but are willing to spend their forces to form one. I want to quote Ignacio Aguero, director of “One hundred children waiting for a train” (1988), who finished in the forum: “…rescue him something that is novel, is the fact that our film is more or less guaranteed the freedom of each director. (…) The important thing is structured accordingly continue to make a film after another. That has to be our policy. ” 18 years have passed and the filmmakers know still claims that there is industry, and also we can say that there is still more or less established a guarantee of freedom of filmmaking. In the same year, when Eugenio Tironi was Director of the Secretariat of Communication and Culture, the magazine interviewed CINE and the title was: “Cinema must be subject of national debate,” there aware that after discussions with the Guild of Film and Television Producers (APCT) was born the idea of creating an Office of Dissemination of the Work Chilean film to facilitate access of national works at international festivals, keeping exchange of information with similar bodies.That is, since at that time realized that in other countries there was a public body which cares about cinema. Then comes Cine-Chile SA (RIP), a company that gave the Chilean film financing up to 70 of the projects through soft credit lines of the State Bank. This initiative was developed by Enrique Correa, Minister Secretary General of Government, Carlos Ominami, Minister of Economy, Ren Abeliuk, Minister of CORFO and Miguel Littin, President of the APCT.This partnership only lasted three years, of course, allowed the completion of 10 films, but then he claims abused and this option is not subsidiary to make films became extinct. Then in 1992 establishing the Fondart, still works after several reformulations on the distribution of funds, but at least it is current.