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This article analyzes the creative process of the creative documentary film Radio Atacama (Cerdán (director), 2014) using a qualitative and quantitative methodology based on the theories of authors such as Csikszentmihaly, De Bono, Bordwell and Aumount with the aim of describing the evolution of space in the editing process of the three working versions that are conserved of Radio Atacama. Radio Atacama is a film shoted locations of Bolivia and Chile. The postproduction process was done in Spain. It is an example of how an independent production can develop a project in the Ibero-American area by mixing European personnel and locations in South America. The convinience of the new audiovisual tecnology processes facilitate the development of a new Ibero-American cinema where creators have great creative freedom, without compromises on dates of delivery or contract arrangements with the distributors. The main objective of this article is to describe with detailed data the narrative evolution of Radio Atacama film, from the first version to the final cut. The secondary objective is to reflect on the creative process in the assembly of a documentary film and deepen in production, development and overall evolution of a project that was finally premiered at international film festivals. [ABSTRACT FROM AUTHOR]