Laying the Foundation: How Catalonia Is Building a Global Animation Powerhouse

by

In 2023, the world was captivated when “Robot Dreams,” a poignant story about friendship and grief directed by Pablo Berger from Madrid, garnered an Oscar nomination in the animation category. Interestingly, this film was financed by Arcadia Motion Pictures, a production company based in Barcelona, highlighting a significant trend: Catalonia has been gradually emerging as one of Europe‘s most vibrant centers for animation.

By 2025, the Catalan animation industry finds itself at a critical juncture. A series of enthralling new productions such as “Olivia and the Unseen Quake,” “The Light of Aisha,” and “Barracuda’s Hidden Treasure” are propelling it forward, while a thriving network of institutions and creative minds provide the foundation for this movement. This momentum is no longer just a lucky streak; it feels like a genuine cultural shift.

Prior to the 2023 Annecy Animation Festival, EbMaster conducted interviews with local producers who are making a splash in the industry. The goal was to shed light on what fuels this creative resurgence and the hurdles that still lie ahead. Their perspectives paint a picture of an industry brimming with skill, rooted in camaraderie, and striving for international impact.

Public Support: The Cornerstone of Catalonia’s Animation Boom

It’s widely acknowledged across the industry that Catalan animation wouldn’t be as thriving as it is now without a steady stream of public funding.

I’ve found a crucial element in my work as a filmmaker and producer has been the robust backing from organizations like ICEC and ICAA – the Catalan government’s film-TV agency and the Spanish film agency, respectively. These entities have provided essential funding that allows us to take creative leaps and bring ambitious projects to life. As I work on my eco-fable ‘Pink Punk Delta,’ set to be showcased at this year’s MIFA Feature Pitches at Annecy, I’m grateful for their ongoing support and the opportunities it presents.

Mikel Mas, creator of the Annecy competition film “Olivia and the Invisible Earthquake” – the first full-length stop-motion production in Catalan – agrees. “There’s been a significant effort from the government, particularly ICEC,” he said. “They have shown strong dedication to animation, not just in series but also in feature films. This is what has made this achievement possible.

This public investment carries substantial significance. By establishing an exclusive animation financing line in 2017, ICEC has been able to fund numerous hours of animated content annually, bolstering an industry that was previously on the brink of collapse.

Education and Talent Development: A Pipeline of Excellence

As a movie enthusiast, I’ve always admired the abundance of raw talent Catalonia nurtures. Yet, today, the landscape has transformed remarkably due to its robust educational system. This shift has made the potential of these gifted individuals more accessible and employable in the global film industry than ever before.

Sotorra underscores the outstanding educational establishments in the region: “Catalonia boasts some of the most esteemed educational institutions not just in Spain, but across Europe, including L’Idem, La Salle, and master’s programs at ESCAC and Pompeu Fabra. These educational institutions are continually producing top-tier professionals who directly contribute to the local industry.

Marta Alonso, the executive producer at Teidees and collaborator on the upcoming series “Under the Sofa,” considers this a vital foundation for industry expansion. She explains, “We’ve always had talent, but now it’s more prominent because it’s being cultivated. By offering people chances to work and develop, the entire sector thrives.

Furthermore, we have grassroots organizations such as Pepe School Land, which specializes in teaching using open-source software like Blender. This helps reduce entry barriers and invites a more diverse range of individuals to participate in the field.

International Co-Productions: A Strategic Imperative

In the modern world of animation production, it’s rare for independent projects to be made within just one geographical region. For creators based in Catalonia, collaborative productions with international partners aren’t just beneficial; they’re essential.

Iván Agenjo from Peekaboo Animation explains that he’ll be showcasing several 2D series projects at this year’s MIFA, including “My Little Heroes,” “WAW Resort,” and “BFFS!”. He also mentions other exciting proposals. When discussing the financing aspect of his projects, Agenjo emphasizes that it’s nearly impossible to solely fund a project using funds from Catalonia or Spain. Instead, Peekaboo Animation consistently seeks international partners, as this collaborative approach is inherent to their identity.

As a fervent admirer of Anna Shchur from Siesta Entertainment, I can tell you that her approach to filmmaking is all about quality and endurance. Instead of solely creating in Catalonia where production costs are steep, she’s opting for co-production, which opens up various markets, funding options, and pools of talented individuals. This year at MIFA, we’ll be proudly showcasing our captivating projects, “Black Moth” and the enchanting 2D kids’ series “Biggie and the Magic Bag.

On the other hand, co-production isn’t without its challenges. Alonso likens choosing the right collaborator to selecting the ideal spouse, saying that when things click, it feels like a beautiful miracle. But when they don’t, it can turn into a dreadful nightmare.

Regardless of the obstacles, these collaborations are essential for penetrating international markets. According to Shchur, “Distributing in Canada or France frequently requires production there. Co-production serves as the key to this door.

Grounded Storytelling with Global Appeal

As a devoted admirer, I’d like to highlight what makes Catalan cinema distinctive: it’s not about lavish budgets or revolutionary technology; instead, it’s the passionate community of skilled and uniquely seasoned artists who weave stories from their personal experiences and authentically reflect the culture.

According to Sotorra, there’s a unique blend of creativity at play here, which is quite extraordinary. Many animators hail from documentaries or live-action filmmaking. This diverse background gives them a distinct perspective, enabling them to craft tales that feel authentic and packed with emotion.

Mas emphasizes that the movie “Olivia,” which tackles childhood homelessness using stop-motion animation, possesses a significant strength. He explains, “The film addresses a serious social concern in a manner that’s suitable for children. It skillfully maintains a balance between gravity and optimism, which is what gives it its power.

Agenjo points out that successful projects need to strike a balance: “They should be deeply grounded in the local community’s culture, yet they must also appeal universally. This is key to drawing foreign collaborators and distributors.

Commercial projects are increasingly embracing significant topics. For instance, Shchur’s “Black Moth” explores themes of female empowerment and how music can shape one’s identity. According to her, it’s not only well-made but also has a powerful narrative. She emphasizes that it’s not just about providing content; rather, it’s about telling stories with a purpose.

Distribution: The Lingering Weak Link

Despite its numerous advantages, Catalan animation encounters substantial challenges in distribution, particularly within Spain. Remarkably, Shchur acknowledges that distributing locally can be more challenging than overseas.

Alonso points out an inconsistency in financial assistance during and post-production: “What we require isn’t just funds for filming, but also for distribution, so our productions can reach global audiences. It seems that we’re falling short compared to countries like France in this area.

As a passionate advocate, I echo Mas’ sentiments about public broadcasters such as RTVE and TV3. They are our public institutions, and they could be playing a more active role in showcasing culturally significant films to wider audiences. When a commercial film like ‘Tadeo Jones’ (or ‘Tad the Lost Explorer’) gets premiered, it’s omnipresent. I believe our films deserve that same level of exposure and promotion as well.

There’s some good news though. Efforts such as Eurimages and certain European Union distribution grants are starting to yield results. However, as Mas points out, there’s a bias in the animation world. We’re expected to compete at festivals like Cannes and win awards, yet also generate box office revenue like Hollywood. It’s important to acknowledge both cultural and commercial triumphs.

Looking Ahead

2025 marks an exciting year for Catalan animation with numerous significant projects such as “The Light of Aisha,” “The Treasure of Barracuda,” and “Hanna’s Forgotten Christmas” set to debut. However, maintaining this success won’t just be about artistic brilliance; it requires consistent financial support from the public, effective distribution tactics, and a persistent effort towards global partnerships.

According to Sotorra, if we continue emphasizing our core elements – public financing, top-tier education, widespread influence, and unique creative expression – Catalan animation could establish itself as a world leader in the realm of auteur (distinctive author-driven) animation.

In essence, rather than witnessing a speculative bubble in its animation sector, Catalonia is instead establishing solid groundwork. With careful cultivation, Catalonia could potentially emerge as a global leader in the realm of animated storytelling.

Read More

2025-06-06 11:17