Blending magical realism with emotional depth, CIELO by Alberto Sciamma tells the story of Santa, an eight-year-old girl who embarks on an extraordinary journey across the Bolivian altiplano to fulfil a promise made to her dying mother: to carry her body across the desert and deliver her to paradise. What begins as a pact becomes a spiritual adventure where myth, nature and emotion collide.
Shot entirely in Bolivia and led by a powerful debut from young actress Fernanda Gutiérrez Aranda, CIELO stands out for its unique visual identity and its heart-wrenching yet hopeful tone. Written and directed by Alberto Sciamma, the film has already earned awards and acclaim on the festival circuit, and now arrives in London with two special screenings and Q&As.
We spoke exclusively with producers Alexa Waugh, John Dunton-Downer and Bettina Kadoorie about CIELO:
Alexa Waugh: I had worked with Alberto before, on a feature called I Love My Mum. He called me around three years ago to share the script for CIELO. But before that, he had already been working on the idea with John.
John Dunton-Downer: That’s right. Alberto and I had been talking about doing something together for a long time. We’ve known each other for over 20 years, and I’ve always believed he’s an incredibly underrated talent, not just as a director, but as a writer. He had written amazing things that never got made, and I always thought: “This deserves to be a film.” CIELO stood out from the start. It became, in my view, the most compelling script we had developed together.
Bettina Kadoorie: John brought me in and sent me the script. And it just moved me. It was so different, so unexpected. I never knew what was going to happen next, which is rare these days. There are so many films where you can predict the ending. But CIELO had these beautiful surprises, and Santa’s journey was so emotional. Her desire to take her mother to a better place, I’d never read anything like that. I knew instantly I wanted to be part of it.
What were the biggest challenges during production in Bolivia?
Alexa: For me personally, the biggest challenge was the language. I don’t speak Spanish fluently, and a few of our department heads from the UK didn’t either, including our cinematographer. He worked with an entirely local crew, which brought its own difficulties. And of course, the altitude. La Paz is the highest city in the world, and that took a toll. Weirdly, I didn’t get sick when I arrived, but I did when I went back to the UK!
That said, working in Bolivia was incredible. The local crew, the producers at Films, the energy of the people, we had a really amazing experience.
Bettina: Every production has hard days, but we were lucky. One of the biggest factors that made everything smoother was Fernanda, our lead. When you have a young actress who’s that emotionally intelligent, and whose parents are fully supportive of the process, everything becomes easier. She gave so much, scene after scene.
Filming on Death Road was a challenge. It was our big stunt day. We had to make sure everything was safe, but we also had a great safety team and trusted them. It all went smoothly, though of course there were nerves beforehand.
John: From a logistical point of view, we had very long days, early mornings, late nights. And then you add in the wild mountain roads, pitch-black locations, extreme cold. But the optimism we felt, and the team spirit, really carried us through.
There were moments early on, lying in bed at night, thinking: “Are we crazy to try this?” But very soon after we got started, that doubt disappeared.
Alexa: Also, there was only one camera rental house in the area, so we had to bring in all our own equipment. We even lost a suitcase with some of the camera gear during prep! Luckily, we had time to recover. But it was definitely an added layer.
Bettina: But for every challenge, there were good omens. One day, in a small village where locals had gathered to be extras, two condors flew over the set. The villagers said it was a very lucky sign, and honestly, it felt that way.
The film is very personal to Alberto. How was it to work with him on such an intimate story?
Bettina: It was my first time working with him, but Alexa and John knew him well. What stood out to me was how collaborative he is. He has no ego. Even though it’s such a personal story, he was open to rewriting, adapting, reshaping —depending on what the actors brought or what the location inspired. As someone who also writes and directs, I found that inspiring.
John: I agree. He’s warm, welcoming, and incredibly open to input —but never loses his vision. That’s a rare balance. The fact that CIELO is so personal didn’t mean we were excluded; on the contrary, he made us part of it.
Alexa: He goes all in. When he’s directing —especially something he’s written— he gives everything to the project. He builds a “family” around him, and that’s how he works best. Everyone becomes emotionally invested.
John: And that’s why I’d work with him again without hesitation. His commitment is total. He doesn’t fade or get distracted. He drives the whole team —sometimes it’s intense, but it’s also what gets the film made.
The film already has three awards under its belt. What are your hopes for its international future —especially in South America?
Bettina: South America is definitely part of the dream. We’re an international team, Alberto is Spanish, Alexa and I are from the UK, John is American, I grew up in Hong Kong, but we really want CIELO to connect with audiences around the world. Especially in Latin America. Santa’s story deserves to be seen on the big screen.
John: It’s a universal film, but it’s also deeply rooted in Latin American culture. The faces, the voices, the landscapes, the symbolism, that’s what gives it flavor. Having South American audiences embrace the film would be the ultimate validation.
What do you hope audiences feel or remember after watching CIELO?
Bettina: I hope they remember the joy of watching something emotional with other people in a cinema. That moment when you don’t want to move after the credits roll. CIELO invites conversations, it asks real questions. I hope people feel inspired, even to visit Bolivia or to think differently about the world.
Alexa: For sure. Bolivia is a place many people haven’t visited, but it’s stunning. The film opens a window into that. And beyond the setting, Santa’s story will resonate with anyone. We all have loved ones. We all grieve. It’s about human connection.
John: One of the most powerful things is seeing how quiet people get after the film. Sometimes for 15 minutes. And then they talk for hours. It stays with you. It’s about love, loss, resilience, and a need to keep reaching for something greater.
CIELO will celebrate its UK premiere with screenings on June 6th at Curzon Hoxton and June 7th at RichMix.
