Teresa Saldarriaga: a Key Voice in Colombian Cinema and the Defense of Directors’ Rights

Eight years after the enactment of the Pepe Sánchez Law, Colombia stands out as a regional leader in the recognition of authors’ rights for audiovisual directors. At the heart of this transformation is Teresa Saldarriaga, director, cultural manager, and current president of Directores Audiovisuales Sociedad Colombiana de Gestión (DASC), the entity that represents and defends the economic rights of filmmakers in the country.

By Ulises Rodríguez

The story of DASC is also the story of a collective struggle for the recognition of directors’ authorship. Teresa Saldarriaga, with an extensive career in film and television, recalls the turning point that led her to become institutionally involved: "I was hired to write five scripts for a single series, and I had to give up the rights so they could use that same story as a musical, a soap opera, a television unit, a literary novel, etc. And for three cents, it was truly an abuse and a violation of the dignity and rights of the creators." she told AV Creators News. That experience marked the beginning of an advocacy journey that years later would culminate in a landmark law.

A Long Road Toward Concrete Goals

With a strong academic background and a particular sensitivity to stories with a gender and social focus, Saldarriaga has worked across multiple formats, from feature films to documentary series. Her most notable works include Simona Amaya, Vivir o Morir por la Libertad (2023), Caminante no hay camino (1995), and Nelly (1984), all addressing topics such as historical memory, human rights, and the role of women in social and political processes.

In 2001, alongside director Mario Mitrotti, Saldarriaga founded FEDEIMAGEN with the aim of uniting various industry associations. That platform was crucial in pushing forward a legislative proposal to secure remuneration rights for directors. The project drew inspiration from other collective management societies, especially the experience of Directores Argentinos Cinematográficos (DAC), which provided technical advice and strategic support.

Political backing came from congresswoman Clara Rojas, while symbolic momentum was fueled by Pepe Sánchez, a renowned TV director, screenwriter, and actor, whose posthumously released video testimony had a decisive emotional impact during parliamentary debates. The law passed unanimously in both chambers and was enacted in 2017.

The director Mario Mitrotti, who passed away in 2024, left a fundamental legacy for Colombian directors

After it was enacted, the law was challenged by major television networks, but DASC hired a legal team that successfully defended its constitutionality. In 2018, the Dirección Nacional de Derecho de Autor (DNDA) granted DASC authorization to operate as a collective management organization. Since then, the organization has collected and distributed royalties on behalf of directors while also offering social and professional benefits.

“This law has changed the lives of hundreds of Colombian directors,” Saldarriaga affirms. In addition to royalty income, members have access to healthcare coverage, emergency assistance, educational support, and grants for festival participation. DASC has also launched awards, research incentives, and training programs in universities.

Challenges Ahead

The DASC president emphasizes that the biggest current challenge is the transformation of the audiovisual ecosystem. “If there’s no work, there’s no public communication and no royalties,” she warns. To that end, the society is advocating for reforms to national cinema laws (814 and 1556), aiming to help the sector adapt to new production and distribution models.

A major concern in the global audiovisual sector is the impact of artificial intelligence (AI) on creative jobs and authors’ rights. “In Brazil, many dubbing actors have already been replaced by AI-generated voices. We cannot sit idly by,” she says.

Approval of the Pepe Sánchez Law en 2017

In this regard, DASC is carrying out awareness campaigns and has implemented internal regulations on the use of these tools, in collaboration with public institutions.

Saldarriaga also considers it crucial to increase the visibility of directors: “They are the captains of the ship, but their names are often invisible to the public,” she says. She highlights that “DASC runs public recognition campaigns and works closely with universities and film schools to strengthen authorial training.”

At the same time, the president emphasizes that "within the current DASC administration, we are addressing the issue of women creators and their needs. Women creators in the country are paid very differently because they are paid less for doing the same work as men, and that is unfair."

Regional Integration and Global Solidarity

DASC is an active member of the Audiovisual Authors International Confederation (AVACI) and the Federación de Sociedades de Autores Audiovisuales Latinoamericanos (FESAAL), from which it promotes South-South cooperation. These alliances, Saldarriaga states, have been essential for legislative advances and for strengthening the legitimacy of authors’ rights in Latin America.

“For years we were ignored by the international community, but today we are part of a global bloc that firmly defends audiovisual authors’ rights,” she says. Colombia has gone from having no specific legislation to establishing a respected and expanding management model.

A Presidency of Legacy and Vision

In 2024, after the passing of Mario Mitrotti, co-founder and a key figure in the creation of DASC, Saldarriaga assumed the presidency on an interim basis, a role confirmed in 2025. “Mario was a visionary and generous leader. We made a great team, and his absence is still deeply felt,” she says emotionally.

From her current position, she continues to drive public policy, international agreements, and institutional alliances to ensure the sector’s sustainability. Her vision is clear: “It’s not just about collecting royalties—it’s about building an industry that respects, recognizes, and fairly compensates its authors.”

Teresa Saldarriaga praises the Board of Directors, with whom she has been working for eight years. “We are a disciplined team, very committed to our members. This work and the achievements we have had cannot be said to be solely the work of Teresa Saldarriaga: they are the work of the entire board. And, of course, we cannot forget Adriana Saldarriaga, our legal advisor, who has been our guardian angel since day one,” says the president of DASC, taking the opportunity to thank her “for her support, creativity, and assertiveness in her commitments to the entity.”

The Colombian case is a concrete example of how collective organization, international support, and political will can profoundly transform the landscape of authors’ rights in the audiovisual sector. In Teresa Saldarriaga’s words: “DASC was born out of necessity, but today it’s a symbol of protection, dignity, and hope for Colombia’s directors.”