Going into Berlin’s European Film Market, Spain’s biggest sales agents are under no illusion just how tough international markets have become.
“Paradoxically, in one of the best moments for Spanish productions, we are finding that some of our top dramas are getting hard to sell unless selected in Cannes, Venice or Berlin,” says Latido Films CEO Antonio Saura.
Also, “If American productions dominate at least 80% of markets, and local productions claim about half what remains. You’re left with just 10% of markets for many wonderful films to try to find audience opportunities. Competition is fiercer than ever,” he says.
“Many newer platforms are insisting on revenue shares. This rarely works for us,” observes Feel Sales’ Yennifer Fasciani.
Yet companies are fighting back. “Either a film works very well or not at all. Our strategy is increasingly focusing on major titles, leaving no middle ground,” states Film Factory Entertainment’s Vicente Canales, who has acquired a major title, Icíar Bollain’s true events-inspired “I’m Nevenka,” one of five movies on the first movie slate from Movistar Plus+.
Ivan Díaz of Filmax agrees: “Everybody is trying to avoid risk. The main market trend is clients’ focussing more and more on the most popular genres.”
“Comedies sell well in Spain, but do not travel. Genre travels better,” adds Saura.
As platforms prioritize content that appeals to broader audiences, Latido continues to diversify, acquiring “Aire,” a Dominican Republic sci-fi thriller and Ventana Sur buzz title. It is also hunting beyond Spanish-speaking fare.
Filmax is taking to market “We Treat Women Too Well,” boasting a big Spanish cast of Luis Tosar (“Maixabel”, “On the Fringe”) Antonio de la Torre (“The Endless Trench”), and Carmen Machi, recently seen in the Los Javis buzzed “La Mesías.”
“We have to be more selective,” says Canales, underscoring the need for titles to stand out from the crowd.
In smaller art films, that strategy has paid dividends for Bendita Film Sales. “Each title in our boutique lineup, limited to up to eight films annually, demands a very bespoke strategy. It’s something we like,” says head Luis Renart.
Lois Patiño’s “Samsara,” a proudly art house offering – where spectators are invited early to drift with eyes closed into a liminal state – became one of the most talked-about films at 2023’s Berlin, even before it won itsSpecial Jury Prize at its Encounters section.“Samsara” has seen strong sales, and in some territories considerable theatrical returns.
“If a film travels well across the festivals, it makes our life a lot easier,” Gloria Bretones, at Begin Again Films, tellsPvNew, adding that “Festival strategy for us is tremendously important.” Its film, Alberto Gracia’s “The Rim,” just debuted at Rotterdam.
Festivals’ importance is true for the whole of the sector, with Berlin and Cannes becoming especially crucial for sales, says Canales. With more films fighting over the same market slice, there is room for more sales agents, newcomers to sales like Sideral being welcomed.
“I don’t feel we are in competition with each other. I feel it’s a supportive community where we are well connected with each other,” Alice Oziol, head of international sales, toldPvNew. Latido’s pick up of “Saturn Return,” which will have a market screening in Berlin –supports this given Sideral Films involvement as a producer of previous Berlin winner Isaki Lacuesta’s latest title.
It’s still a tussle. Platforms’ pull back from 100% worldwide acquisitions, even on Alejandro Amenábar’s $15 million “The Captive,” on which Netflix has taken Spain and Latin America, has created new market opportunities for everybody. once again competition, here from French sales agents such as London-based Film Constellation which has pounced on “The Captive’s” international rights, still remains fierce.
