Alejandro created Vilpa films as a way to ‘bridge the gap between visibly and acclaimed short films that disappear after the festival circuit’, creating a platform that makes these works accessible even after the circuit to a global audience.
Launched on January 31st, Vilpa Max is the vessel that enables short filmmakers from around the world the opportunity to present their work globally.
Alt Africa Review sits down with Max to find out more about the concept behind Vilpa Max and its future.
ALT A: You’ve built Vilpa Films working alongside Oscar and Cannes-recognised projects. What gaps in the market made you launch Vilpa Max now?
Alejandro: The gap was very clear: there is an incredible ecosystem of high-quality short films — including Oscar-winning and Cannes-acclaimed work — that simply disappears after the festival circuit. These films build momentum, recognition, and critical acclaim, but they rarely find a structured home for long-term visibility.
Vilpa Max was created to bridge that gap. The idea is not just to host content, but to curate it with the same level of intention that festivals do, while making it accessible to global audiences sustainably.
ALT A: Short films often struggle to find long-term distribution. How is Vilpa Max designed to change that for filmmakers globally, beyond just festival runs?
We’re approaching distribution as an ecosystem, not a one-time window. Vilpa Max is designed to give short films a second life — and more importantly, a lasting presence. That means editorial positioning, curated collections, ongoing discoverability, and integration into a platform where films are not just uploaded, but actively presented. For filmmakers, it’s about extending the relevance of their work beyond festivals and connecting it to real audiences over time.
ALT A: The launch slate is impressive, from The Mozart of Pickpockets to The Red Suitcase. What was your strategy behind curating these particular films for day one?
Alejandro: The launch was about setting a clear statement of intent. We wanted to establish trust immediately — both with audiences and with filmmakers.
By combining Oscar-winning titles, Cannes-recognised films, and strong independent voices, we built a catalogue that reflects both excellence and discovery. The goal was to show that Vilpa Max is not just a library, but a curated space where quality is the defining principle.
ALT A: You’re introducing both a freemium and subscription model. How did you balance accessibility for audiences with fair value for filmmakers?
Alejandro: Accessibility is essential for discovery, especially in short-form content. The freemium model allows audiences to enter the platform easily, while the subscription tier ensures a more premium experience and contributes to long-term sustainability.
The balance comes from building a system where visibility and monetisation can coexist — expanding reach without devaluing the work. For filmmakers, the key is not just revenue, but continued exposure within a curated environment.
ALT A: Why did you choose the UK, North Africa, and the Middle East as your initial rollout markets?
Alejandro: These regions represent a very interesting intersection of cultural diversity, audience growth, and under-served demand for curated international content.
The UK is a strong gateway market, while MENA offers significant expansion potential with audiences that are increasingly engaged with global cinema. Strategically, it allows us to build a meaningful presence in regions that are both dynamic and open to new platforms.
ALT A: Having worked with high-level production and development, including your time connected to Eon Productions, how has that experience shaped your approach to building a platform rather than just producing content?
Alejandro: Working in development taught me how much of the industry depends on structure — not just creativity. Great ideas are everywhere, but what defines success is how they are positioned, developed, and ultimately delivered.
That perspective directly influenced Vilpa Max. It’s not just about producing content, but about creating an infrastructure where content can live, evolve, and reach audiences in a strategic way.
Alt A: There’s a growing conversation around the commercial viability of short-form storytelling. Do you see short films becoming a standalone mainstream format, or still a stepping stone?
Alejandro: I believe short-form is evolving into its own category. While it has traditionally been a stepping stone, audience behavior is changing rapidly, and there is a growing appetite for high-quality, shorter formats.
The key is not duration, but intention. When short films are presented and positioned correctly, they can absolutely stand on their own as a meaningful and commercially viable format.
ALT A: With films like All the Crows in the World and Cannes-selected titles on the platform, how important is festival credibility to your long-term content strategy?
Alejandro: Festival credibility is a strong foundation because it reflects a level of artistic validation and curation. It allows us to build trust from day one.
However, our long-term strategy goes beyond that. We’re interested in identifying films that resonate with audiences, regardless of where they come from, while maintaining a consistent standard of quality.
ALT A: As a producer, writer, and now platform founder, how do you plan to support emerging filmmakers beyond distribution — are there plans for funding, development, or mentorship?
Alejandro: Absolutely. Distribution is just the starting point.
We are already exploring ways to support filmmakers through post-production initiatives, development pipelines, and potential financing structures for future projects. The idea is to create a continuum where filmmakers can grow with the platform, not just showcase a single piece of work.
Alt A: Looking ahead, what does success for Vilpa Max look like in the next 2–3 years — scale, acquisitions, original content, or something else?
Alejandro: Success is a combination of all those elements, but more importantly, it’s about positioning.
In the next 2–3 years, we want Vilpa Max to be recognized as a leading destination for curated short-form cinema globally — a platform that filmmakers trust and audiences return to.
That includes expanding the catalogue, developing original content, and building strategic partnerships, but always with a clear editorial identity at the core.
Find Vilpa Max here !
