{"id":119,"date":"2026-05-18T06:05:43","date_gmt":"2026-05-18T06:05:43","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=119"},"modified":"2026-05-18T06:05:43","modified_gmt":"2026-05-18T06:05:43","slug":"three-films-in-competition-a-thriving-box-office-and-the-envy-of-europe-spain-is-having-its-moment","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=119","title":{"rendered":"Three Films in Competition, a Thriving Box Office and the Envy of Europe: Spain Is Having Its Moment"},"content":{"rendered":"
\n<\/p>\n
\n

\n\tSpaniards may not crowd the streets by the tens of thousands to celebrate their auteurs the way they do their futbolistas, but there has been a palpable sense of exuberance in the industry this spring about a historic moment for Spanish cinema.<\/p>\n

Read more John Oliver Mocks Trump\u2019s Ballroom Plans (Again) and His Contradictory Claims Over the Reflecting Pool Upgrades<\/a><\/p>\n

\n\t\u201cI wish we lived it like that!\u201d director Rodrigo Sorogoyen joked on the radio about the football analogy, after the April 9 announcement that his new film, The Beloved<\/em> (El Ser Querido<\/em>), would join Pedro Almod\u00f3var\u2019s Bitter Christmas<\/em> (Amarga Navidad<\/em>) and Javier Calvo and Javier Ambrossi\u2019s La Bola Negra<\/em> in an unprecedented three-film representation of Spain in this year\u2019s Official Competition at Cannes.<\/p>\n

\n\t\u201cThere\u2019s a certain movement in Spanish cinema,\u201d Festival Director Thierry Fr\u00e9maux affirmed at the announcement, pointing also to the French release the previous day of Spanish director Carla Sim\u00f3n\u2019s Romer\u00eda<\/em>, a 2025 Cannes competition title. \u201cThis country has continued to produce formidable artists.\u201d<\/p>\n

\n\tSpanish productions and co-productions can also be found in Un Certain Regard, Cannes Premi\u00e8re, Special Screenings, Critics\u2019 Week and Cannes Selection. The Croisette will be well stocked with the country\u2019s most internationally renowned talents: Javier Bardem stars in The Beloved<\/em>; Pen\u00e9lope Cruz and Glenn Close appear in La Bola Negra<\/em>; and rising actress Victoria Luengo co-stars in both Beloved<\/em> and Bitter Christmas<\/em>, the latter alongside Barbara Lennie, Leonardo Sbaraglia, Aitana S\u00e1nchez-Gij\u00f3n and Milena Smit.<\/p>\n

\n\t\u201cIt speaks to the great moment Spanish cinema is experiencing,\u201d Almod\u00f3var said following the April announcement \u2014 and he should know. He has had a hand in launching many of these talents, and his El Deseo production house co-produced La Bola Negra<\/em> as well as last year\u2019s Cannes Jury Prize winner and double Oscar nominee Sir\u0101t<\/em>.<\/p>\n

\n\t\u201cIt\u2019s historical,\u201d agrees Guillermo Farr\u00e9, Head of Original Films & Spanish Cinema at Movistar Plus+, which co-produced Beloved<\/em>, La Bola Negra<\/em> and Sir\u0101t <\/em>and also backed Bitter Christmas<\/em>. He notes that while Almod\u00f3var has ensured Spanish cinema\u2019s presence at Cannes at least every few years, this year\u2019s three competition titles represent three different generations of filmmakers \u2014 proof, he says, that \u201cSpanish cinema is in a very exceptional situation right now.\u201d<\/p>\n

\n\tSpain is \u201cin vogue,\u201d affirms Elisa Carbonell, CEO of Spanish foreign trade institute ICEX, pointing to the country\u2019s heightened presence at international festivals, markets and awards shows. \u201cWe are capable of bringing together craftsmanship, which I think is a luxury now, and innovation.\u201d Spain has proved its creativity, its originality and its reliability. \u201cWe are so successful because there is an industry and there is talent.\u201d<\/p>\n

\n\u201cWhere Talent Ignites\u201d<\/strong><\/p>\n

\n\tThat wider moment is captured in the new Where Talent Ignites campaign backed by ICEX\u2019s Audiovisual from Spain initiative, premiering at Cannes. Rather than making claims about Spain\u2019s creative industries, the campaign lets three new short films do the talking \u2014 each featuring established and emerging talents across different sectors.<\/p>\n

\n\t\u201cWe wanted to make pieces that demonstrate what our industries are capable of,\u201d Carbonell says. \u201cThe audiovisual is the common language that we\u2019re using to talk about other industries, which are also key parts of the audiovisual sector.\u201d<\/p>\n

\n\tThe first short, Flamenco<\/em>, was unveiled in Rotterdam. Directed by Sim\u00f3n \u2014 who is also presiding over the Short Film and La Cinef Jury at Cannes \u2014 it features flamenco artists including Roc\u00edo Molina, Carmela Greco, Ni\u00f1o de Elche and Angeles Toledano. The second, La Tarara<\/em>, turns its attention to Spain\u2019s fashion sector. Directed by music video veteran Nicol\u00e1s M\u00e9ndez, it stars Ingrid Garc\u00eda-Jonsson, Lennie, Rossy de Palma, Ar\u00f3n Piper and Eugenia Silva. The third, La Llama<\/em>, is an animated short from the duo known as TURBO (Pau L\u00f3pez and Gerardo del Hierro), highlighting contemporary designers including Jaime Hayon. All three will be available from May 17 at spainwheretalentignites.com.<\/p>\n

\n\t\u201cI think it\u2019s a really beautiful initiative, to export that idea of the talent that exists, through stories \u2014 especially through short films, where we can empathize with the characters, get involved, and then reflect on what\u2019s happening or what Spain is like,\u201d says Sim\u00f3n. For Flamenco<\/em>, she wanted to explore the \u201ctension that exists between tradition and the contemporary\u201d through a story revolving around mother and daughter flamenco artists \u2014 a theme that also feeds into her flamenco-focused feature film, currently in early development. \u201cIt seemed like a good opportunity to start working with people in that world and to try things out,\u201d she says. \u201cIt\u2019s been a huge learning experience\u2026 I\u2019ve felt very much like a conductor.\u201d<\/p>\n

\nSigns of Good Health<\/strong>\n<\/p>\n

\n\tThis is the second and expanded edition of Where Talent Ignites, following a debut short in 2024 that was viewed more than 19,000 times. The business results are measurable in \u201cinternational co-productions, financing agreements, more visibility among buyers and international producers\u2026 and the international platforms, which are actually increasing their investment in Spain due to the quality,\u201d Carbonell notes.<\/p>\n

\n\tThey can also be measured in the sector exceeding the government\u2019s target when it launched the well-funded Audiovisual Hub in 2021: a 30 percent increase in production by 2025. Spain produced 289 feature films (376 when including co-productions) in 2024 \u2014 a 6.6 percent year-on-year increase and the highest volume in the period 2013\u20132024, according to the Hub\u2019s latest annual report.<\/p>\n

Read more Christopher Nolan Says \u2018The Odyssey\u2019 Is \u201cThe Most Extreme Version\u201d of the Story He Could Make<\/a><\/p>\n

\n\tSpain also led Europe for streaming commissions, accounting for 17 percent of the total, and was among the biggest beneficiaries of streaming investment in the region between 2015 and 2024, according to the European Audiovisual Observatory. \u201cCompetition in Spain is very, very strong, especially with the American streamers,\u201d says Farr\u00e9. \u201cAnd the competition starts with the talent.\u201d<\/p>\n

\n\tThe return of local audiences to cinemas is another indicator of health. Box office revenue almost doubled between 2021 and 2024, reaching \u20ac484.6 million ($568.5m) in 2024. Cinema attendance ranks fifth in Europe by revenue and fourth by audience numbers, with 760 cinemas and 3,562 screens holding steady.<\/p>\n

\n\t\u201cSpain is experiencing a great moment, where new and established talents intersect and all genres are being explored,\u201d says Antonio Saura, managing director of sales house Latido Films. Local comedies remain the dominant force at the Spanish box office \u2014 led by Santiago Segura\u2019s parenting franchise Father There Is Only One 5<\/em> \u2014 but local drama is performing well too, with Alejandro Amen\u00e1bar\u2019s The Captive<\/em> and Alauda Ruiz de Az\u00faa\u2019s Sundays<\/em> among the next top earners. \u201cThe Spanish box office for Spanish films is another matter entirely,\u201d Saura adds. \u201cIt\u2019s improved as well, but like in other countries, that\u2019s largely thanks to local comedies.\u201d<\/p>\n

\n\tThe Spanish Federation of Cinemas reported an 8 percent decline in overall moviegoers last year, but Spanish cinema maintained a healthy 19 percent market share.<\/p>\n

\nFestival & Awards Bump<\/strong><\/p>\n

\n\tSpain\u2019s auteur cinema is clearly traveling well, but Saura is candid that \u201cthe market is very complicated\u201d for films without strong auteurs or marketing hooks. \u201cIn that sense, the support of a festival or a well-defined genre is essential.\u201d He notes that Cannes interest is often buoyed by French sales agents and co-producers attached to Spanish films.<\/p>\n

\n\tThe festival effect is real. Ruiz de Az\u00faa says Sundays<\/em> benefited enormously from its Golden Shell win in San Sebasti\u00e1n. After taking five top Goya Awards in February, it was expanded to more theaters and saw a box office bump even after becoming available on Movistar Plus+. \u201cAs an independent production, we have fewer tools to give the film visibility,\u201d she says. \u201cAwards and festivals benefit all kinds of films, but specifically films that have fewer channels and fewer resources.\u201d<\/p>\n

\n\tMaria Mart\u00ednez Bayona is premiering her debut feature The End of It<\/em> in Cannes Premi\u00e8re \u2014 a sci-fi story set in a future where aging and death are optional, in which a 250-year-old former artist decides she would like to die. The ambitious \u20ac8 million ($9.3 million) multi-country co-production, starring Rebecca Hall, Noomi Rapace and Gael Garc\u00eda Bernal, took years to assemble. \u201cIt was quite a shock, finishing the film and then they called us and told us we were going to Cannes.\u201d<\/p>\n

\n\tFor Farr\u00e9, \u201cCannes has become the go-to place if you want to turn the launch of a movie into a cultural event.\u201d Sir\u0101t<\/em> is his example: rather than releasing directly to Movistar\u2019s platform, the film was given space to build an international career first. \u201cWe need the movies to have the space to connect with audiences and become relevant.\u201d Sorogoyen\u2019s The Beasts<\/em> offers another template: after its Cannes Premi\u00e8re, it swept the 2023 Goyas and earned a C\u00e9sar for Best Foreign Film.<\/p>\n

\n\u201cThe Envy of Europe\u201d<\/strong><\/p>\n

\n\tWhile the Audiovisual Hub\u2019s initial funds closed out in 2025, Carbonell says the money was spent \u201cintelligently,\u201d citing an estimated return of \u20ac9 per euro invested. She points to the new Spanish Technological Transformation Society (SETT) investment fund as the next vehicle for mobilizing capital and attracting foreign and private investment.<\/p>\n

\n\t\u201cSpain is the envy of Europe,\u201d says Adri\u00e0 Mon\u00e9s, CEO of Fasten Films, which co-produced three films from female directors at this year\u2019s Cannes: Bayona\u2019s The End of It<\/em>; La\u00efla Marrakchi\u2019s Spain-set immigrant tale La M\u00e1s Dulce<\/em> in Un Certain Regard; and Iranian director Pegah Ahangarani\u2019s Rehearsals<\/em> for a Revolution in Special Screenings. Mon\u00e9s points to Spain\u2019s incentives, subsidies, platform investment, film school talent and strong technical crews as the pillars of what he calls \u201cthe perfect ecosystem, not too fragile despite all its problems.\u201d He acknowledges that things could shift with changes in political support, but says the foundation is solid. \u201cWe\u2019re attracting so many international productions to Spain, it\u2019s very fertile ground for training young people. It\u2019s a fabric, a foundation of growth.\u201d<\/p>\n

\n\tCarbonell agrees: \u201cThe audiovisual sector in Spain has transformed itself. Institutions understand that this is a key sector\u2026 I think we laid the base for something that\u2019s going to scale, and we\u2019re very happy.\u201d<\/p>\n

Read more \u201cThe Independence of \u201960 Minutes\u2019 Has Been Critical\u201d: Anderson Cooper Bids Farewell to CBS News Show With a Plea<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Spain makes history at Cannes 2026 with three films in competition, a booming box office and a thriving industry that’s become the envy of Europe.<\/p>\n","protected":false},"author":1,"featured_media":35,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[8,127,2,128,129],"class_list":["post-119","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-cannes-2026","tag-film","tag-international","tag-spain","tag-world-lens-lets-connect"],"yoast_head":"\nThree Films in Competition, a Thriving Box Office and the Envy of Europe: Spain Is Having Its Moment - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=119\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Three Films in Competition, a Thriving Box Office and the Envy of Europe: Spain Is Having Its Moment - 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