For the very first time, two movies produced in Catalonia, “Romería” by Carla Simón and “Sirat” by Oliver Laxe, have been selected to compete in the prestigious main category at Cannes Film Festival.
Reaching this milestone is a testament to the culmination of numerous years dedicated to strategic investments, learning, and global collaborations, which have propelled Catalonia onto the international stage as a burgeoning powerhouse in European art cinema.
Oriol Maymó, producer of “Sirat” at Corte y Confección, remarks that it’s delightful to see such events taking place, yet he emphasizes they’re not mere coincidence. He attributes this success to an industry that has been fueled by passion for a long time, with institutions like ICEC and educational centers such as ESCAC and Pompeu Fabra playing significant roles. Over the years, these institutions have been cultivating highly skilled professionals in the fields of technology and art.
Undeniably, education and institutional backing are crucial pillars propelling the cinematic growth of Catalonia. As executive producer Sandra Tapia notes, “Talent is essential, but it’s equally important to have chances for learning and development. For years, our public universities and film schools have been relied upon to nurture that talent.” The government of Catalonia, through ICEC, has significantly contributed by not only funding productions but also marketing Catalan cinema globally via Catalan Films.
Yet, the success isn’t only due to nurturing creativity. Catalonia’s openness towards international collaborations through co-productions has widened market opportunities as well. Movies like “Romería” and “Sirat” have strong European co-producers backing them, which makes them appealing to global viewers.
As a seasoned movie critic, I can’t help but admire the strategic foresight demonstrated by “Romería” producer Maria Zamora. She eloquently articulates the genesis of a fresh wave of directors and producers who, over the years, have been diligently nurturing the global reach potential of their projects from inception. Their strategy, she suggests, involves collaborating with international partners right from the start.
Besides Zamora’s focus on cultural strategies, she underscores the significance of nurturing budding talents: “Talent doesn’t just appear spontaneously; it’s fostered by targeted cultural policies designed to bolster emerging talent and independent filmmakers.
From a commercial standpoint, it’s evident that things are changing. I, as a movie enthusiast, can see that Catalan films are gaining traction. Producers and distributors are showing increased interest because more of these films are being crafted with broader audiences in mind, yet without compromising their distinct viewpoints.
The creative evolution is clearly evident within these movies. “Sirat,” a collaboration between Santiago Fillol and Laxe, delves into the raw aspects of Morocco’s rave scene, while “Romería” merges deeply personal recollections with a broader quest for identity. Despite their cultural roots, both films have a global impact. As Zamora puts it, cultures as robust and authentic as Catalan, Galician, or Basque generate uniquely genuine local narratives that, due to their sincerity, transcend borders.
Sandra Tapia, an executive producer at Arcadia Motion Pictures – a Barcelona-based production company nominated for an Oscar, highlights another essential aspect: the significance of public broadcasters. TV3, a regional partner in Catalonia, has been key in sustaining production continuity as streaming platforms reduce commissioning. “A robust public television is vital,” Tapia emphasizes, explaining that it guarantees filmmakers still receive crucial support when the market shrinks.
Indeed, the achievements at Cannes clearly showcase the increasing skill of Catalan filmmakers in handling global markets. As Tapia explains, “Younger producers, such as ourselves, are more accustomed to traveling, presenting our ideas internationally, and collaborating across borders.” However, she highlights an ongoing issue: Spain currently lacks the extensive international distribution infrastructure that countries like France offer.
Tapia expresses his disappointment that public backing usually comes after achieving success at a significant festival,” or more casually, “Tapia bemoans the fact that people don’t support you until you’ve already made it big at a major event.
The momentum is unmistakable. Zamora likens it to a movement that has been steadily growing in power over the past few years: “I recall when I first attended co-production forums 15 years ago, there were barely two or three Spanish producers. Now, there are numerous young producers with projects sprouting up all around.
The diverse character of Catalonia allows it to excel in forging international collaborations. As Zamora points out, “Catalonia has been eager to assist significant and rising filmmakers.” It’s not just about local ventures; it’s about creating compelling productions that can resonate globally.
The choice of “Romería” and “Sirat” at Cannes is not a one-off event. Instead, it signifies a thoughtful, progressive development within the realm of Catalan cinema, which balances artistic aspirations with commercial tactics effectively. In essence, Maymó states that if we remain committed to our industry, invest in projects with wide appeal without sacrificing our unique voice, Catalonia’s representation at major film festivals will not only persist but thrive.
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2025-05-15 12:18