Spain’s Sales Agents See Brighter Future

After a puzzlingly muted presence at this year’s Berlinale, Spanish cinema is roaring back with two high-profile selections – Carla Simón’s “Romería” and Oliver Laxe’s “Sirat” – in the main competition at Cannes. While it’s too soon to call Berlin’s thin Spanish lineup an anomaly, Spain’s strong showing at Cannes suggests a renewed momentum that Spanish sales agents are eager to capitalize on.

At February’s European Film Market, Spanish companies reported an upbeat atmosphere despite the absence of major competition titles. The underlying optimism stemmed from a combination of factors: a new generation of directors, international-ready genre films, a growing animation sector and, critically, a higher technical and storytelling standard across the board.

“We’ve definitely raised the bar,” says Iván Díaz, head of international sales at Filmax. “The quality in Spanish productions is better now, and you can feel that in every genre: animation, horror, thrillers. You can now make a great-quality animated film with less money, and that’s crucial because long production times are risky in today’s fast-changing market.”

Animation and genre, in particular, continue to thrive. Filmax has leaned into both sectors with projects like “The Footballest 2” and “The Treasure of Barracuda” debuting at Cannes’ Marché du Film. Díaz notes that family and animation titles are increasingly attractive not just in Europe but in Latin America and other territories where independent animation has proven box-office potential.

Still, the enthusiasm is tempered by systemic challenges. As Antonio Saura of Latido Films points out, Spain’s government once supported sales agents financially, a practice still common in France, Germany, and Italy, but such support was canceled two decades ago and has not been restored. “The institutions have listened to us,” Saura says, referring to lobbying efforts by Spanish sales agents. “But we do not see them addressing this extremely grave issue as a priority. It’s obvious that any country supporting their movies and culture has an advantage, which Spain does not have.”

That lack of backing can be felt acutely when it comes to the international rollout of Spanish films. Díaz highlights the stark difference in how animated features like “Flow” received a massive boost from France’s international promotion infrastructure, enabling breakout success abroad. Without similar support, Spanish films often face an uphill battle even when the quality matches or exceeds that of international peers.

The evolution of Spain’s television landscape could offer partial relief. Movistar Plus+, one of the major backers of Laxe’s” Sirat,” and other players are producing increasingly ambitious films with sales agents attached for international distribution. Vicente Canales of Film Factory lauds this shift. “The market is looking for bigger projects with more ambition, not micro art-house films,” he explains. “Movistar’s model, aiming for films selected at top festivals like Cannes and Venice, is very positive for Spanish cinema.”

However, Canales warns that Spanish cinema cannot rest on festival laurels alone. He points to a worrying trend: Berlin’s selections are becoming less commercially viable, with distributors struggling to find marketable titles there. In contrast, Cannes’ selections in recent years have enjoyed strong theatrical releases worldwide. “At Berlin, the market and the festival are going down very different paths,” he says. “Meanwhile, in Cannes, we’re seeing titles that succeed both critically and commercially.”

Ultimately, the future of Spanish cinema on the global stage will hinge on a mixture of smart production choices, sustained government support, and an industry-wide focus on films that can resonate both artistically and commercially. With Spain’s star rising again at Cannes, the signs are promising, but maintaining that trajectory will require concerted effort.