This Gritty Barcelona Drama Exposes the True Cost of Gentrification—Is Your City Next?

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In a lively street within Barcelona’s Raval district, where halal butchers, tattoo studios, and age-old Catalan eateries coexist, a film crew subtly sets up to film a significant building that accommodates Can Mosques, the fictional restaurant central to “Ravalear,” Max’s latest Spanish production.

The setting appears strikingly authentic, which is precisely the aim. Conceived by filmmaker Pol Rodríguez, who draws inspiration from his family’s long-standing management of the bustling local bar Can Lluis for over a century, “Ravalear” offers an unfiltered, engaging narrative. This series skillfully blends elements from thriller and family drama genres to submerge viewers in a Barcelona grappling with gentrification, identity, and survival struggles.

Max’s upcoming six-episode series, produced by the Academy Award-nominated production company Arcadia Motion Pictures based in Barcelona, will debut in 2026. This series is not just another luxurious European drama; it delves into deeply personal themes of memory, community, and the harsh realities of economic dislocation, often unnoticed. EbMaster was given exclusive behind-the-scenes access to the set, where Arcadia’s executive producer Sandra Tapia showcased the meticulous work being done to bring this vision to fruition and introduced us to the team dedicated to bringing this story to life on screen.

2019 marked the beginning of the story, according to Rodríguez, who shared these insights amid breaks in filming, comfortably seated in a quiet corner on the lively street that serves as the central avenue for “Ravalear.” For generations, his family had run Can Lluís, but a takeover by a fund during the pandemic forced them to relinquish it. This loss stirred feelings of guilt and anger within him, and he came to understand that this experience could be transformed into a gripping thriller narrative.

Absolutely, the film “Ravalear” combines elements of social realism with thriller themes. It narrates the story of a family spanning multiple generations who find themselves in a predicament when they learn that their cherished restaurant is being taken over by a strong investment group. Instead of presenting a straightforward underdog narrative, it offers characters with moral intricacies, as Rodríguez explained: “The characters aren’t strictly heroic or villainous; the heroes don’t always make the right decisions, and the antagonists aren’t always in the wrong.

As a movie enthusiast, I find that the narrative unfolds against the backdrop of modern urban conflicts: sky-high rents, property speculation, and the loss of cultural heritage. However, Rodríguez emphasizes that this drama transcends political discourse. In his words, “It’s about memory clashing with progress. What happens when a neighborhood’s identity is wiped out for profit?

The movie ‘Ravalear’ was predominantly shot on the actual streets of Raval, with supplementary scenes filmed in Montjuïc and Poblenou. This production bridges the gap between fiction and reality. Unconventional casting methods allowed newcomers like Noor-Ul-Huda and Mohamed Ben Moula to join the cast, working alongside established Spanish actors such as Enric Auquer, María Rodríguez Soto, Francesc Orella, and Sergi López.

Stepping onto the movie set gives you a sense of stepping into an authentic street in the barrio. The re-created Can Mosques isn’t just a studio creation; it’s a fully functional kitchen and dining room constructed within a genuine commercial building, only for the filming period. Local businesses and residents serve as background actors, and neighborhood associations have been actively involved from the drafting of the script to production, assisting with everything from set decoration to catering.

Auquer, who portrays one of the sons, commented, ‘There’s a raw, authentic feel to our performance.’ Witnessing Pol’s real family becoming emotionally invested as they watch us reenact their past is intense. It imbues every action we take with an extra layer of significance.

Rodriguez and fellow director Isaki Lacuesta, who previously teamed up on “Saturn Return” which won three Goyas in 2025, opted for an immersive style for their latest project. “It’s chaotic, indeed,” Rodriguez chuckled. “But it’s beautiful chaos – just like a bustling restaurant during service, one must welcome the unpredictability.

In keeping with its diverse environment, the series “Ravalear” fluidly transitions among Catalan, Spanish, Urdu, Arabic, and English. This mirrors the spirit of the neighborhood according to Rodríguez, as a stroll down one street in Raval might reveal speakers from five different language groups. The creators aimed to acknowledge and celebrate this multiculturalism.

For numerous actors, this polyphonic performance presented both a test and an excitement. “Often, I’d be acting in Spanish with someone who didn’t even speak it,” Auquer explained. “Yet, we managed to connect. It was all about body language and emotion. That’s the enchantment of filmmaking.

Although “Ravalear” undeniably has political undertones, it portrays villains in the form of a covert investment company, and its protagonists are those struggling to keep their homes. However, Rodríguez Soto and the cast ensure that the storyline steers clear of preachiness. Rodríguez Soto himself stated, “This isn’t meant to be a lesson. It’s about people, and people can be intricate.”

“Ravalear” has political aspects, but its bad guys are a secretive investment company, and the good guys are those trying to keep their homes. The creators make sure it doesn’t become too preachy. Rodríguez Soto explained, “It’s not meant to teach. It’s about people, and people can be complex.

Rodriguez Soto portrays the role of the eldest son’s family matriarch. She described her character as coming from a more affluent economic stratum. What intrigues her about this role is the exploration of families who have constructed their lives together, who stand up for one another. It’s essentially a tribute to the resilience and unity within the working class.

Rodríguez and Auquer were deeply moved by the script’s authentic emotional content. As Auquer put it, “This isn’t merely a tale about a structure; it’s a story of history, identity. When a location vanishes, so does a piece of yourself.

Despite being rooted strongly in local themes and dialect, the series “Ravalear” is primed for global recognition. With Filmax overseeing international distribution and Max ensuring widespread domestic exposure, this series appears headed towards crossing national boundaries. However, the creators aren’t shaping it specifically for overseas markets.

Rodríguez stated, ‘We’re not watering down our narrative.’ In my opinion, the more detailed we make it, the broader its appeal and applicability becomes.

Absolutely! Just like how I appreciate authentic stories from Denmark or Latin America, it’s all about portraying the truth and intricacies of a specific culture. That’s when viewers across the globe can relate to it and find a piece of themselves within the narrative.

The creation process has been challenging yet invigorating. As Rodríguez confessed, “It’s like climbing a mountain with thirty actors, five languages, both professionals and amateurs, even children and kitchen scenes.” But that’s the excitement. We’ve been practicing with some cast members for over two years, which speaks volumes about their dedication.

A significant portion of our work focused on maintaining authenticity, from coordinating kitchen food preparation to managing service stress nightly. As our director put it, “It’s like a ballet.” He, who was raised in the restaurant world, explained that one mistake, one broken dish, could throw everything off balance. It provides an exciting touch of drama.

In 2026, when I tune into “Ravalear” on Max, it will be so much more than just another high-end series. It’s a poignant plea from a city and its people who are battling adversity, and an unfiltered, almost autobiographical account by one of our nation’s most renowned filmmakers. It serves as a reflection of contemporary urban life, showing the tumultuous intersections between families, communities, and culture with the relentless, icy logic of a hyper-capitalistic metropolis.

According to Rodríguez, he’s not here to provide solutions, but rather to pose thought-provoking questions. In essence, his work serves as a platform for questioning: What sacrifices are we prepared to make in pursuit of advancement?

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2025-04-30 12:50