Spanish sales agents are on some kind of roll. The European Film Market during the Berlinale proved robust, and Malaga Film Festival better still.
“Malaga was great for our movies,” Latido Films’ Antonio Saura reported at its conclusion. “We have one of the best lineups in our history covering all genres and all very marketable.”
That lineup includes Jim Sheridan’s drama “Recreation,” starring Vicky Krieps, and “La Casa” and “Saturn Return,” both Malaga standouts that together won seven awards.
With the market more receptive to Spanish projects, it’s important to pick the right genre mix. “Definitely for thrillers, for animated films, things are good. Spanish thrillers are prestigious now. They’ve performed well theatrically in many countries,” says Filmax’s head of international Iván Diaz. But for comedies, dramas or romantic comedies, it’s a bit more arduous. “If you’re trying to sell Spanish romantic comedies, however, to the international audience, they’re not so familiar. It’s a good moment, but I wouldn’t say it’s a good moment for every type of film.”
Vincent Canales, Film Factory Entertainment head, agrees: “There is strength to Spanish cinema, there are great concepts, very good directors and screenwriters. We work and search hard to bring original stories to the market.”
Popular on PvNew
Filmax is screening “Rita,” the directorial debut of actor Paz Vega, in the Cannes market, as well as “Maybe More,” Olivier Ducray and Wildried Meancé’s remake of Spanish hit “The People Upstairs.”
Alberto Rodriguez’s “Los Tigres” is a much-anticipated project that Film Factory Entertainment will be selling alongside Luis Tosar starrer “Undergrowth,” among other film offerings.
But the lack of Spanish-language films in competition is troubling to the biz. Twenty-four of the 40 films in main competition and Un Certain Regard have majority or minority producers from France.
“I’m supportive and, why not say it, envious of what Cannes is doing, helping French films continue to flourish globally. But I hope that the market will bear in mind that there are other languages there, other forms of expression that are not French, or dictated by the French taste and that they will be open to look for it. I’m sure it will be the case,” says Saura, who is also president of VICA, the Spanish association of sales agencies.
“Our recent films are not in competition and getting attention will be hard. But many conversations have started at other markets already,” says Feel Sales’ Yennifer Fasciani. “Stories,” the directorial debut by colorist Eszter Nagy, and the doc “Cabin Pressure” are two of its projects at the market.
Upcoming titles from Spanish auteurs such as Julio Medem, Alejandro Amenábar, Alberto Rodríguez, Icíar Bollaín and Oliver Laxe should see more of the country’s films in high-profile festivals.
For filmmakers looking to increase their budgets or start a riskier project, finding funding can be a challenge. While the country’s tax breaks for international and Spanish shoots are among the biggest in the world, box office has not risen to pre-pandemic levels and the big spenders Spain’s commercial broadcasters are prioritizing safer, mainstream bets.
Canales observes that there can be a tendency to focus on local successes such as comedy and drama but would love to see more experimentation given to internationally appealing genres.
“It’s a great model of support in Spain, yet we have filmmakers in horror and thrillers with great ideas but who find it hard to gain broadcaster backing. If that grows, we could sell many of these films widely. Many projects that have sold best for us were the hardest to get financed.”
