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For the first time in history, two films from Catalan producers, Carla Simón’s “Romería” and Oliver Laxe’s “Sirat,” have secured coveted spots in the main competition at Cannes.
This milestone signals the fruition of years of strategic investment, education and international collaboration that has transformed Catalonia into an emerging force of European auteur cinema.
“It’s wonderful that things like this are happening, but it’s not by chance,” says Oriol Maymó, the Catalan producer of “Sirat” at Corte y Confección. “This is the result of an industry that’s been working with passion for many years, from institutions like ICEC [Catalan Institute for the Cultural Companies] to audiovisual training centers like ESCAC and Pompeu Fabra. Year after year, these schools produce highly skilled technicians and artists.”
Indeed, education and institutional support form the backbone of Catalonia’s cinematic surge. Executive producer Sandra Tapia points out, “First, you need talent. Then, you need opportunities for training. Here, both public universities and film schools have been trusted for years to develop that talent.” The Catalan government, via ICEC, has played a pivotal role by not only financing productions but also promoting Catalan cinema internationally through Catalan Films.
However, it’s not just creative nurturing that’s paying off. Catalonia’s embrace of international co-productions has opened doors to broader markets. Both “Romería” and “Sirat” are backed by significant European co-producers, making them highly attractive prospects for global audiences.
“Romería” producer Maria Zamora highlights the long-term vision behind this shift, explaining, “This is the confirmation of a new generation of directors and producers who have spent years working on the international reach of our projects from the very beginning, co-producing with other countries.”
Zamora also emphasizes the cultural policies supporting young talent development: “Talent isn’t born on its own. It’s encouraged through very specific cultural policies aimed at supporting young talent and auteur cinema.”
Commercially, the effects are already visible. Maymó notes, “I think Catalan films are becoming more marketable. Distributors and sales agents are paying closer attention because more projects are being made for wider audiences without losing their unique perspectives.”
The creative evolution is palpable in the films themselves. “Sirat,” co-written by Santiago Fillol and directed by Laxe, takes a gritty journey through Morocco’s rave culture, while “Romería” blends deeply personal memory with a universal search for identity. Though rooted in specific cultures, both films manage to resonate internationally. “Very strong and deep-rooted cultures like Catalan, Galician or Basque create highly particular and genuine local stories that, because of their truthfulness, become universal,” Zamora explains.
Sandra Tapia, an executive producer at Oscar-nominated Barcelona-based “Robot Dreams” production company Arcadia Motion Pictures, adds another crucial dimension: the role of public broadcasters. TV3, Catalonia’s regional television partner, has been instrumental in maintaining production momentum even as streaming platforms scale back commissions. “Having strong public TV is crucial,” Tapia asserts. “It ensures that when the market contracts, filmmakers still have vital support.”
Of course, the success at Cannes also reflects the growing sophistication of Catalan producers in navigating international markets. “Younger producers like us are much more comfortable traveling to markets, pitching internationally and co-producing across countries,” Tapia says. However, she points out a lingering challenge: Spain still lacks the robust international distribution support that countries like France provide.
“Public support often only kicks in once you’ve already succeeded at a major festival,” Tapia laments.
Yet the momentum is undeniable. Zamora describes it as a movement that has been building strength for years: “I remember when I started going to co-production forums 15 years ago, there were just two or three Spanish producers. Now, there are scores of young producers with projects everywhere.”
Catalonia’s cosmopolitan nature has also made it uniquely adept at building cross-border partnerships. “Catalonia has been very open to supporting important and emerging auteurs,” Zamora notes. “It’s about more than just local projects – it’s about packaging important productions that can resonate internationally.”
The selection of “Romería” and “Sirat” at Cannes isn’t an outlier. It is a manifestation of a rich, deliberate evolution within Catalan cinema, one that values artistic ambition and commercial strategy equally. As Maymó puts it, “If we keep believing in our industry, investing in broad-audience projects without losing our personal voice, Catalonia’s presence at major festivals will not just continue, it will grow.”
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