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| Where Was My Sad Dead Filmed? All 2026 Series Filming Locations Revealed. |
My Sad Dead was filmed across specific locations in Buenos Aires, Argentina, and Santiago, Chile, with the production using real urban environments for its exterior scenes and purpose-built studio sets for much of the story’s more intimate supernatural drama. The contrast is deliberate: Buenos Aires provides the rough, lived-in streets of Piedrabuena, while Santiago gives the filmmakers much tighter control over Ema’s home and the eerie interiors.
Principal photography ran from 27 June to 11 September 2025, although the production did not publicly reveal every precise filming spot while cameras were rolling. There is a fairly obvious reason for that: keeping filming locations quiet is considerably easier than trying to work around crowds of curious visitors who have decided a Netflix production is their new tourist attraction.
The most important filming location is Piedrabuena Neighbourhood in Villa Lugano, Buenos Aires, which effectively becomes one of the series’ central characters. Rather than constructing an entirely fictional urban district, Pablo Larraín’s production used the existing environment to give the supernatural story a much more grounded setting. The neighbourhood’s dense public housing architecture, concrete structures and interconnected walkways provide the visual identity of Piedrabuena, making the setting feel like a real community rather than a carefully polished television backdrop.
The Piedrabuena public housing blocks are particularly important to the series’ visual language. Their huge concrete façades and tightly connected pedestrian spaces create an enclosed feeling around the characters, even when the scenes are technically outdoors.
The architecture gives the camera plenty to work with, from long corridors and hard concrete surfaces to views between residential blocks. For a supernatural drama dealing with grief and people who refuse to stay quiet after death, it is a rather fitting environment. Nothing about the place needs much gothic decoration when the buildings are already doing most of the atmospheric work.
Another significant part of the Buenos Aires shoot was the urban infrastructure and concrete flyovers around Piedrabuena. The elevated road structures create deep shadows and imposing lines across the neighbourhood, and the production incorporated these spaces into tense sequences involving the spirits of the murdered teenagers.
The areas beneath the flyovers add another layer to the series’ sense of confinement, with enormous slabs of concrete hanging above ordinary residential streets. It is not exactly the sort of scenery people usually put on a postcard, but for My Sad Dead, that is rather the point.
The streets and residential spaces of Villa Lugano also helped establish the wider physical world surrounding Piedrabuena. These practical locations allowed the series to keep its supernatural story connected to an recognisable urban environment instead of turning everything into a conventional horror set. The result is a setting where disturbing events appear to intrude into ordinary neighbourhood life, which makes the supernatural elements feel considerably less detached from reality.
For visitors interested in the wider area, Villa Lugano itself provides additional context for the production’s choice of setting. The district's mixture of residential developments, major roads and large-scale urban infrastructure reflects the visual character used throughout the series.
It is worth distinguishing this from a specific filming claim, though: the supplied production information identifies Piedrabuena and its surrounding urban infrastructure as the filming environment, rather than confirming every individual street or building in Villa Lugano as a camera location. That distinction matters when a location article starts turning every pavement into a supposed Netflix landmark.
The production then moved to Santiago, Chile, where the approach changed completely. Instead of relying primarily on existing streets and buildings, the crew constructed detailed domestic interiors inside production facilities. This gave the filmmakers much greater control over lighting, camera movement and the physical layout of each room, which was especially important for the story’s supernatural sequences.
The most notable of these constructed locations was Ema’s home interior, designed by production designer Rodrigo Bazaes. The house was created as a deliberately enclosed and unsettling environment, with deep hallways, high walls and darker corners that could be carefully shaped for cinematographer Sergio Armstrong’s camera. Rather than simply making the home look spooky, the design was intended to reflect Ema’s increasingly complicated psychological and supernatural world. The house could therefore feel almost like a maze, with its architecture helping to trap both the living characters and the spirits surrounding them.
The Santiago production studios also allowed the crew to build and control domestic spaces that would have been far more difficult to manage on location. Studio construction meant lighting could be positioned precisely, walls and rooms could be arranged around the camera and supernatural moments could be staged without the restrictions that come with working inside a real occupied property. In a series where ghosts are constantly crossing the boundary between the ordinary and the unexplained, having complete control over that boundary was probably quite useful.
A related location for understanding the production is Santiago, Chile’s studio-production environment, which served as the technical counterpart to Buenos Aires’ practical streets. The two cities effectively perform different jobs in My Sad Dead: Buenos Aires supplies the physical reality of the neighbourhood, while Santiago provides the controlled spaces where the family drama and supernatural elements could be shaped with greater precision. It is an interesting production split rather than simply a case of filming wherever the scenery happened to look suitably miserable.
The locations also make sense in relation to the story itself. My Sad Dead, originally titled Mis muertos tristes, follows Ema, a retired doctor who has spent much of her life hiding an unusual ability to see and hear the dead. Her already isolated existence becomes increasingly difficult after her mother dies and her estranged niece Julie arrives, carrying a similar ability but experiencing it in a far more volatile way. When three teenage girls are murdered in Piedrabuena, the supernatural activity surrounding the neighbourhood intensifies, forcing Ema to confront things she has spent years trying to avoid.
That storyline explains why the production needed such a strong relationship between real Buenos Aires locations and controlled Santiago interiors. The neighbourhood gives the series its social and physical grounding, while Ema’s house becomes a more enclosed space where family tensions, grief and supernatural disturbances can collide. The locations are therefore more than background scenery; they help separate the public world from the private one without making the distinction feel too neat.
There is also a practical reason viewers will not find an enormous catalogue of exact addresses for My Sad Dead. Productions do not necessarily publish every filming position while a series is being made, particularly when revealing precise locations could interfere with ongoing work.
That is especially relevant for a production using active residential environments. A location article can identify the confirmed filming areas without pretending every doorway, apartment block or stretch of pavement has been officially announced as a set. Sometimes the mysterious part is simply the production schedule, not a ghost.
My own take on the locations is that My Sad Dead benefits from resisting the temptation to make every supernatural moment look spectacular. Piedrabuena’s concrete housing blocks and flyovers are visually imposing without needing much embellishment, while the studio-built Santiago interiors give the story a more claustrophobic quality.
The contrast makes the series’ world feel slightly uncomfortable in a way that polished horror locations often fail to achieve. There is something more effective about seeing strange events unfold in an ordinary urban environment than putting every ghost in an obviously haunted mansion. And honestly, a massive concrete flyover looming over a residential street already has enough personality to do half the horror department’s job.
For anyone hoping to turn My Sad Dead into a location-hunting trip, Piedrabuena in Villa Lugano and the production environments in Santiago are the key places connected to the series. Some locations are real public environments, while Ema’s interior world was deliberately created inside studios, so not every memorable room exists as a place you can simply walk into with a camera and a coffee. The series was built around that mixture of reality and fabrication, and that is part of what makes its location design interesting.
So, would you actually visit the Piedrabuena and Villa Lugano locations after watching My Sad Dead, or would you rather leave the concrete flyovers, haunted streets and mysterious studio interiors safely on Netflix? Tell us which location caught your attention most, and keep an eye on Tonboriday.com for updates if more specific filming details are officially revealed.