Issuu

THE VULNERABILITY OF GLOBAL CINEMA

espite being a relatively young art form, cinema has already faced a considerable number of major challenges throughout its history. These challenges have often been tied to economic crises or disruptive technological shifts. But turbulence can also come from politics. Just before closing this edition, news broke of Donald Trump’s intention to escalate his ongoing trade wars by imposing a tariff on productions made outside the United States—a move seemingly aimed at discouraging Hollywood from shooting abroad. While Trump’s bluster has often come to nothing, this particular decision could have a deeply damaging impact on the international screen sector. Not only because of the measure itself, but because it would likely prompt a reciprocal response from regions like the European Union—potentially sparking an escalation whose consequences are impossible to predict.

This is the international edition of RUBIK, especially focused on the Cannes Film Festival—an event that runs parallel to the Marché du Film, the most important film market in the world. Here, visitors walk past dozens upon dozens of film commission booths, each promoting their region as a destination for international shoots. Trump’s isolationist protectionism would threaten to dismantle the global production ecosystem that has taken shape over recent decades. Unintentionally, it would also impoverish the cultural diversity of the films reaching American cinemas. After all, Cannes is where much of the world’s top-tier cinema premieres. In the pages that follow, you’ll find the titles selected for the 78th edition—both in Competition and in other sections—that, hopefully, will reach cinemas in countries that haven’t entirely lost their way. As always, we give special attention to Spanish, Portuguese, and Latin American cinema. We also feature an in-depth report on three Spanish regions that have become production powerhouses in their own right— WWW.RUBIK-AUDIOVISUAL.COM

beyond Madrid and Barcelona. And since Panama has been named Guest Country at next year’s Málaga Film Festival, we reached Panama Film Commission to learn more about what makes the country so film-friendly. This issue also includes a conversation with a representative of the new Together Fund— an initiative designed to support the financing of independent European film producers— and an interview with the president of Spain’s screenwriters’ guild, who shares insights into the threat and opportunities of AI from the perspective of a profession rooted in creativity (the real one). We also spotlight a filming that took place at a new cutting-edge virtual production center in Gran Canaria, and an article exploring why comedy so often gets overlooked at major festivals like Cannes. All in all, it’s a diverse selection of content that we hope you’ll enjoy. May your Marché du Film be fruitful!. Carlos Aguilar Sambricio and Miguel Varela 3

SUMMARY CANNES

THE FILMS FOR THE PALME D’OR 12 MUST-WATCH AUTEURS

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Die, My Love © 193 and Legendary Entertainment

THREE PRODUCTION HUBS: GALICIA, ANDALUSIA AND EUSKADI

SPAIN AND LATAM

SPAIN AT THE MARCHÉ SPANISH MARKET SCREENINGS

ROMERÍA AND SIRAT, TWO SPANISH

LATAM AND PORTUGAL CINEMA

CONTENDERS FOR THE AWARDS

PANAMA FILM COMMISSION

SPANISH CINEMA AT CANNES

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FRONT COVER: SLEEPLESS CITY, FILM DIRECTED BY GUILLERMO GALOE AND SELECTED IN CANNES CRITICS’ WEEK. © Sintagma, Buena Pinta Media, Encanta Films, Bteam Prods, Tournellovision, Les Valseurs EDITED IN MADRID IN MAY 2025 BY MARATÓN AUDIOVISUAL S.L. ALL RIGHTS RESERVED LEGAL DEPOSIT: M-1895-2024 ISSN: ISSN 3020-5107 GENERAL CONTACT: HOLA@RUBIK-AUDIOVISUAL.COM EDITORIAL CONTACT: REDACCION@RUBIK-AUDIOVISUAL.COM ADVERTISING CONTACT: MARKETING@RUBIK-AUDIOVISUAL.COM

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Alexandra Lebret

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A Conference Panel at the Marché du Film 2024

Triangle of Sadness Sales: Coproduction Office

RUBIK MAGAZINE

A Poet Sales: Luxbox

66 INTERVIEWS

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24 64

TOGETHER FUND

SCREENWRITING VS. AI

ARTICLES A BEAST FOR VIRTUAL PRODUCTION IN GRAN CANARIA TOUGH TIMES FOR LAUGHTER

60 66

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Filming of Romeria © Mario Llorca / Ignasi Camós Courtesy of Elastica Films

CANNES FESTIVAL

THE FILMS FOR THE PALME D’OR 2025

THE 78TH EDITION OF THE CANNES FILM FESTIVAL —THE MOST EAGERLY ANTICIPATED EVENT OF THE YEAR FOR FILM LOVERS— TAKES PLACE FROM MAY 13 TO 24. THE AWARDS WILL BE DECIDED BY A JURY CHAIRED BY JULIETTE BINOCHE AND FEATURING ACCLAIMED FILMMAKERS SUCH AS HONG SANG-SOO, PAYAL KAPADIA, AND CARLOS REYGADAS. A NOTABLE ASPECT THIS YEAR: SEVEN WOMEN DIRECTORS ARE IN COMPETITION (CARLA SIMÓN, KELLY REICHARDT, LYNNE RAMSAY, JULIA DUCOURNAU, MASCHA SCHILINSKI, HAFSIA HERZI, AND CHIE HAYAKAWA), MATCHING THE RECORD SET IN THE 2023 EDITION. CARLOS AGUILAR SAMBRICIO

ROMERIA by Carla Simón. Spanish filmmaker Carla Simón concludes her family cycle begun with Summer 1993 and Alcarràs (Golden Bear winner). It´s another exploration of family bonds with a journey subtly addressing the taboos surrounding AIDS and heroin addiction, and blending bittersweet tenderness with nostalgia. Produced by Elastica Films in co-production with Ventall Cinema and Dos Soles Media, sales are handled by mk2 Films. Storyline: Marina, 18, orphaned at a young age, must travel to Galicia at the Spain’s Atlantic coast to obtain a signature for a scholarship application from the paternal grandparents she has never met. She navigates a sea of new aunts, uncles, and cousins, uncertain whether she will be embraced or met with resistance. Marina pieces together the fragmented and often contradictory memories of the parents she barely remembers.

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SIRAT by Oliver Laxe. This is the first time Spanish filmmaker Oliver Laxe is selected in Cannes competition, but all of his films have been awarded in different sections of the festival (Fire Will Come, Mimosas and You Are All Captains). Sirat delves into various existential themes and, true to the filmmaker’s style, features a cast largely made up of non-professional actors, with Sergi López in the lead. The film, which sales are in charge of The Match Factory, has the Almodovar brothers (El Deseo) and Movistar as leading producers. Storyline: A man and his son arrive at a remote rave in the mountains of southern Morocco. They are searching for Mar, their daughter and sister, who disappeared months ago at one of those never-ending parties. They decide to follow a group of ravers in search of one last party to be held in the desert, where they hope to find her. SENTIMENTAL VALUE by Joachim Trier. Norwegian filmmaker Joachim Trier’s sixth feature is one of the must-sees at this year’s Cannes, especially following the success of his previous film, The Worst Person in the World, which became one of the prominent titles of 2021 (winning Best Actress at Cannes and earning Oscar nominations for Best Original Screenplay and Best International Feature). In this new film, he reunites with Renate Reinsve, who is joined by Stellan Skarsgård and Elle Fanning. Screenplay is penned with longtime collaborator Eskil Vogt and the film — a meditation on family and the healing power of art — is being handled internationally by mk2 Films. Storyline: An acclaimed stage actress, Nora, and her younger sister Agnes mourn the loss of their mother. Their father, Gustav, suddenly steps back into their lives after a long absence. Once a renowned film director, Gustav looks to make his comeback and make amends with Nora by offering her the lead role in his next film. But Nora wants nothing to do with her father or his film.

THE MASTERMIND by Kelly Reichardt. Filmmaker Kelly Reichardt is one of the standout names in American cinema at Cannes, where she has previously premiered films like Wendy & Lucy (Un Certain Regard) and Showing Up (In Competition). Her new film, with international sales handled by The Match Factory, already has Mubi on board as distributor in several territories. Josh O’Connor is in the running for Best Actor twice this year — for The History of Sound and this film — and he stars alongside Alana Haim, Bill Camp, and John Magaro. Storyline: James Mooney orchestrates an audacious art heist against the backdrop of the Vietnam War and the country’s burgeoning women’s liberation movement. As he engages in this daring criminal endeavor, he must navigate a world marked by shifting social and political dynamics.

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FUORI by Mario Martone. In previous years, there have usually been several Italian films in competition. This time, the sole representative is Mario Martone with Fuori, a film starring Valeria Golino and written by Ippolita Di Majo along with Martone himself. Martone, who previously competed for the Palme d’Or with Nostalgia and L’Amore Molesto, tells the story of the renowned writer Goliarda Sapienza. Goodfellas is handling international sales for this production by Indigo Film, Rai Cinema, The Apartment (a Fremantle company), and Srab Films. Storyline: Rome. The 1980s. After the magnum opus The Art of Joy she has been working on for a decade is rejected by the Italian publishing world, writer Goliarda Sapienza commits a desperate theft that costs her her reputation and social position. Incarcerated in Italy’s largest female prison, she finds herself living alongside thieves, junkies, sex workers and revolutionaries. After her release, she continues to meet with these women and over the course of a sweltering summer, a life-changing relationship flowers – a relationship that will reawaken her the desire to live and to write.

SOUND OF FALLING by Mascha Schilinski. Schilinski is one of the most promising directors in German cinema. Her debut film, Dark Blue Girl, was selected for the Berlinale, and now Cannes is backing her second feature by placing it directly in competition. It’s been eight years since a German film (In the Fade) last competed for the Palme d’Or. mk2 films handles sales of this haunting cinematic experience that will immerse us into the lives of women on the sidelines of history. Storyline: Over the course of a century, as four girls from different time periods experience their youth on a German farm, their lives become intertwined until time seems to dissolve. 12

ALPHA by Julia Ducournau. Julia Ducournau is one of only three women filmmakers to have won the Palme d’Or, alongside Jane Campion and Justine Triet. She earned the prize with her second feature, Titane. Her highly anticipated third film — produced by Mandarin et Compagnie, Kallouche Cinéma, and Frakas Productions — is being sold internationally by Charades and FilmNation, with U.S. distribution already secured by Neon. Written by Ducournau herself, the film stars Tahar Rahim (A Prophet) and Golshifteh Farahani (Paterson, The Patience Stone). Storyline: Alpha, a troubled 13-year-old lives with her single mom. Their world collapses the day she returns from school with a tattoo on her arm.

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YOUNG MOTHERS by Jean-Pierre and Luc EAGLES OF THE REPUBLIC by Tarik Saleh. Playtime Dardenne. Talking about the Dardenne brothers is talking about the handles international sales for this political thriller, which is the third and final Cannes Film Festival over the past 30 years. During this period, they have premiered 10 films in competition, winning numerous awards, most notably the Palme d’Or for Rosetta and L’Enfant. Produced by Les Films du Fleuve and sold by Goodfellas, their new film has a storyline that recalls recent films like Pilar Palomero’s Motherhood. Storyline: Jessica, Perla, Julie, Ariane and Naïma are housed in a shelter for young mothers. Five teenagers hoping for a better life for themselves and their babies.

installment of Tarik Saleh’s Cairo Trilogy, following The Nile Hilton Incident (Grand Prix of the Jury at Sundance 2017) and Cairo Conspiracy aka Boy from Heaven (Best Screenplay at Cannes 2022). Produced by Unlimited Stories, Apparaten, and Memento, the film stars Fares Fares and Lyna Khoudri. Storyline: Egypt’s most adored actor, George Fahmy is pressured to star in a film commissioned by the highest authorities. He reluctantly accepts the role and finds himself thrown into the inner circle of power. Like a moth drawn to the flame he begins an affair with the mysterious wife of the general overseeing the film.

THE PHOENICIAN SCHEME by Wes Anderson. Wes Anderson is one of the favourite American filmmakers of the Cannes Film Festival, given that he already premiered there in competition feature films like Moonrise Kingdom, The French Dispatch and Asteroid City. This Universal Pictures film will be the only pure comedy in competition. Nothing surprising, unfortunately. As usual, the US filmmaker reunites a star-studded ensemble. Besides the leading actors Benicio del Toro, Mia Threapleton and Michael Cera, viewers will see Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Richard Ayoade, Jeffrey Wright, Scarlett Johansson and Benedict Cumberbatch, among others. Storyline: The story of a family and a family business. Wealthy businessman, Zsa-zsa Korda appoints his only daughter, a nun, as sole heir to his estate. As Korda embarks on a new enterprise, they soon become the target of scheming tycoons, foreign terrorists, and determined assassins.

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NOUVELLE VAGUE by Richard Linklater. Richard Linklater is a filmmaker known for his cinematic experiments. This time, his challenge is to make a film about the story of how Jean-Luc Godard filmed Breathless, with the added appeal of doing so not only in black and white but by imitating Godard’s style and spirit. The Texan director has only competed once at Cannes with Fast Food Nation, though A Scanner Darkly was also shown in Un Certain Regard. Guillaume Marbeck plays Godard, Zoey Deutch portrays Jean Seberg, and Aubry Dullin takes on the role of Jean-Paul Belmondo. Goodfellas is handling international sales. Storyline: This is the story of Godard making Breathless, cornerstone of the French New Wave. In the film, Michel is a criminal who, after stealing a car in Marseille, sets off for Paris to collect money owed to him and reconnect with his American friend, Patricia. Along the way, while being pursued by the traffic police, he kills an officer. In Paris, he moves from place to place with Patricia, trying to recover his money while hiding from the police.

EDDINGTON by Ari Aster. This is the first time Ari Aster competes for the Palme d’Or, and he does so with a film that marks a departure from his still short filmography, which includes standout works like Hereditary and Midsommar. It’s different because it’s a contemporary western in the form of a dark comedy that turns bloody and violent as tensions in the town escalate. Joaquin Phoenix and Pedro Pascal lead the cast of this A24 film set during the Covid-19 pandemic, with cinematography by Darius Khondji. Storyline: In May of 2020, a standoff between a small-town sheriff and mayor sparks a powder keg as neighbor is pitted against neighbor in Eddington, New Mexico.

CASE 137 by Dominik Moll. This Cannes edition surprisingly features several thrillers. One of them is Case 137, produced by the French company Haut et Court. It’s the latest work from German filmmaker Dominik Moll, who is well-acquainted with this festival, having previously presented films like Lemming and With a Friend Like Harry. The film, written by Gilles Marchand and Moll himself, has Charades handling international sales.” Storyline: Stéphanie, a police officer working for Internal Affairs, is assigned to a case involving a young man severely wounded during a tense and chaotic demonstration in Paris. While she finds no evidence of illegitimate police violence, the case takes a personal turn when she discovers the victim is from her hometown.

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IT WAS JUST AN ACCIDENT by Jafar Panahi. Jafar Panahi’s films have been featured at Cannes with The White Balloon, Crimson Gold, and 3 Faces. This time, the festival will showcase his latest work in a filmography that has demonstrated his skill in making films under clandestine and highly precarious conditions in recent years. We don’t yet know much about the plot of his new drama, It Was Just An Accident, which is being sold internationally by mk2 Films and produced by Les Films Pelléas, Bidibul Productions, and Pio & Co. Just like with Mohammad Rasoulof last year, it is uncertain whether the Iranian filmmaker will be able to attend the premiere, as he has been imprisoned, kept under house arrest, and faced travel bans multiple times. Storyline: What begins as a minor accident sets in motion a series of escalating consequences.

DIE, MY LOVE by Lynne Ramsay. The highly anticipated return of Jennifer Lawrence comes to life with Die, My Love, the new film from renowned British filmmaker Lynne Ramsay (We Need to Talk About Kevin). An adaptation of the 2017 novel by Argentine author Ariana Harwicz (originally set in France), the film stars Lawrence as a woman suffering from postpartum depression who begins to experience psychosis. She is joined in the cast by Robert Pattinson, LaKeith Stanfield, Sissy Spacek, and Nick Nolte. The film is one of the first projects from 193, the new production shingle and international sales company launched by Patrick Wachsberger and Legendary Entertainment. Storyline: Set in rural America, it revolves a woman who has just had a baby and is engulfed by love and madness, to which her husband appears oblivious. THE SECRET AGENT by Kleber Mendonça Filho. Brazilian cinema is currently thriving, and at Cannes 2025, the latest film from one of its leading figures, Kleber Mendonça Filho, will be showcased. A regular at the festival with films like Aquarius and Bacurau (the latter winning the Special Jury Prize), Filho’s new political thriller is sold internationally by mk2. Starring Wagner Moura, the film is set in the 1970s, during the final years of the military regime. Storyline: Brazil, 1977. Marcelo, a technology expert in his early 40s, is on the run. He arrives in Recife during carnival week, hoping to reunite with his son but soon realizes that the city is far from being the non violent refuge he seeks.

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CANNES FESTIVAL

RENOIR by Chie Hayakawa. If we rule out Iran, Asian cinema is almost non-existant at Cannes 2025’s competition. The exception is this film by Japanese filmmaker Chie Hayakawa. She offers an emotional coming-of-age story about resilience, the healing power of imagination, and a family’s struggle to connect through trauma. It’s the director’s second feature after Plan 75, which was selected for Un Certain Regard. Goodfellas handles international sales, and the lead cast includes Lily Franky, Hikari Ishida, and Yui Suzuki. Storyline: Suburban Tokyo, 1987. 11-year-old Fuki’s father, Keiji, is battling a terminal illness, and in and out of hospital. Her mother, Utako, is constantly stressed out from caring for Keiji while holding down a full-time job. Left alone with her rich imagination, Fuki becomes fascinated by telepathy and falls ever deeper into her own fantasy world…

THE HISTORY OF SOUND by Oliver Hermanus. THE LITTLE SISTER by Hafsia Herzi. Hafsia Herzi, French actress of Josh O’Connor and Paul Mescal, two of the trendiest actors right now, star in this gay romance directed by South African filmmaker Oliver Hermanus (Moffie, Shirley Adams), who premiered Beauty in Un Certain Regard in 2011 and could be one of the surprises of the edition. It’s a Universal Pictures film based on the eponymous short story by Ben Shattuck, who co-writes the screenplay with Hermanus. The film is a UK-US co-production by Film4, End Cue, Fat City, Tango Entertainment, Closer Media, and Storm City Films.” Storyline: It is about the relationship between two men who meet in 1916 and then travel together in the summer of 1919 to record the folk songs of their countrymen in rural New England.

Algerian and Tunisian descent, continues her career as a director with her third film, an adaptation of Fatima Daas’s acclaimed autobiographical novel, where love, faith, and desire collide. This is Herzi’s first time being selected for Competition, although she previously participated in the Critics’ Week with You Deserve a Lover and in Un Certain Regard with Good Mother, which earned an acting award. mk2 Films is handling the film’s international sales. Storyline: Fatima, 17, the youngest of three daughters, treads carefully as she searches for her own path, grappling with emerging desires, her attraction to women, and her loyalty to her caring French-Algerian family. Starting university in Paris, she dates, makes friends, and explores a whole new world, all while confronting a timeless and heartrending dilemma: How can one stay true to oneself when reconciling different parts of one’s identity feels impossible.

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TWO PROSECUTORS by Sergei Loznitsa. Ukrainian filmmaker Sergei Loznitsa moves away from tackling the current hard situation in Ukraine to focus on Stalinism just before World War II. The story is based on the eponymous novel by G. Demidov. It’s a European co-production led by the French company SBS Productions, with participation from Atoms & Void, Avanpost Media, Looks Film, Studio Uljana Kim, and White Picture. International sales are handled by Coproduction Office (except for SBS in the UK and the US). This is Loznitsa’s fourth time in Competition at Cannes, where he has also premiered four other titles in various sections. Storyline: 1937. USSR. Law school graduate Kornev is an idealist ready to fight for Soviet justice, but on his very first assignment he is confronted with the diabolical reality of Stalinism.

Bi Gan’s RESURRECTION at Cannes? At the magazine’s editorial deadline, it was still unconfirmed whether the new film by the director Long Day’s Journey Into Night would be included in Competition. Sold by Les Films du Losange, this sci-fi detective thriller by Chinese Bi Gan has Jackson Yee and Shu Qi leading the cast. Storyline: It tells the story of a woman whose consciousness falls into the “eternal time zone” during a surgical procedure. Trapped in many dreams, she finds an android corpse and tries to wake it up by telling endless stories. The android then wanders within her stories and its senses gradually awaken.

WOMAN AND CHILD de Saeed Roustaee. Roustaee is the second Iranian filmmaker in competition, alongside Jafar Panahi. He is primarily known for Leila’s Brothers, which competed for the Palme d’Or at Cannes 2022. For this film, the director was tried in Tehran ‘for distributing opposition propaganda against the Islamic regime’ and sentenced to six months in prison and a five-year ban on filmmaking, which, as can be seen, he has not adhered to. Goodfellas handles sales for this contemporary family drama about revenge and forgiveness. The cast includes Payman Maadi, Silver Bear winner at Berlin for A Separation. Storyline: Mahnaz, a 45-year-old widowed nurse, struggles with her rebellious son, Aliyar, who has been suspended from school. Family tensions reach a peak during the betrothal ceremony with her new boyfriend Hamid, and a tragic accident occurs. In the aftermath, Mahnaz will be forced to confront betrayal and loss, and to embark on a quest for justice. 18

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12 MUST-WATCH AUTEURS ‘The Wave’

Sebastián Lelio Sales: FilmNation

‘Magalhães’ Lav Díaz Sales: Luxbox

‘Yes’ Nadav Lapid Sales: Les Films du Losange

‘Enzo’ Laurent Cantet and Robin Campillo Sales: mk2 Films

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CANNES FESTIVAL

OUT OF MAIN COMPETITION ‘Eleanor the Great’ Scarlett Johansson Sales: Sony Pictures

‘The Magnificent Life of Marcel Pagnol’

Sylvain Chomet Sales: Elle Driver

‘The Love That Remains’

Hlynur Pálmason Sales: New Europe Film Sales

‘A Private Life’

Rebecca Zlotowski Sales: Goodfellas

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CANNES FESTIVAL

‘Amrum’ Fatih Akin Sales: Beta Cinema

‘The Chronology of Water’ Kristen Stewart Sales: Les Films du Losange

‘Orwell: 2+2=5’

Raoul Peck Sales: Goodfellas

‘Mirrors No. 3 ’

Christian Petzold Sales: The Match Factory

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Alexandra Lebret

PARTNER IN AXIO CAPITAL

ALEXANDRA LEBRET TOGETHER FUND IS A NEW FUND MANAGED BY FRENCH AXIO CAPITAL THAT WILL SUPPORT THE GROWTH AND INTERNATIONALISATION OF SMES AND SMALL MID-CAPS ACTIVE IN THE PRODUCTION, DISTRIBUTION AND BROADCASTING OF AUDIOVISUAL CONTENT ACROSS THE EU-27 AND EFTA COUNTRIES. RUBIK HAS REACHED ALEXANDRA LEBRET, PARTNER IN AXIO CAPITAL AND FORMER EUROPEAN PRODUCERS CLUB’S MANAGING DIRECTOR, TO GET THE DETAILS ABOUT THIS PROMISING INITIATIVE.

ith an initial capitalization of €58 million, Together Fund is designed to transcend national funding barriers and provide essential financial support to European producers. Rubik: Until recently, you were on the board of the European Producers Club. I guess that’s been essential for understanding the needs of the production sector in Europe, right? Alexandra Lebret: Being the Managing Director of the European Producers Club gave me a fantastic opportunity to be at the heart of the sector and to deeply understand the needs of producers. It felt like being positioned right between regulatory frameworks and the everyday reality of the industry. It allowed me to grasp the challenges independent producers face in their daily operations and to seek solutions both on a practical level and in terms of policy. Rubik: Right now, financing is one of the big challenges. What problems do European producers face in this regard? 24

CARLOS AGUILAR SAMBRICIO

A. L.: Financing has always been a challenge in the film industry. What’s new is the scale of financing required today—not only for individual productions, but for the companies behind them. Many production companies remain undercapitalized and fragmented. They need capital not only to finance films more effectively, but also to secure high-value IP or take the time to develop it properly. The arrival of streamers triggered a wave of consolidation: companies had to become more structured to meet new market standards, which was a positive shift. The market continues to grow, even after the post-streaming bubble, and it demands increasingly professionalized production companies. Rubik: What are the main goals for Together Fund? A. L.: The main goal of Together Fund is to support independent production companies that want to grow—offering them access to capital without losing their independence or majority control. We want to be the go-to financing alternative for independent companies. WWW.RUBIK-AUDIOVISUAL.COM

Our aim is to help them reach the next level of development by offering “smart money”—not just funding, but also strategic advice on market trends and financing tools, provided by the highly experienced Together Fund team. We want our expertise to benefit the companies we invest in. Rubik: It´s important to trascend national funding barriers. For this, do you think fostering European co-productions is essential? A. L.: Absolutely. European co-production and cooperation are crucial—especially in light of recent developments in the U.S., where the market is becoming increasingly unpredictable in terms of regulation, pricing, and content types. Now is the time to strengthen the European market. How do we do that after so many years of trying? By creating value in each country and market. That’s the role of co-production: when you co-produce, you increase the value of your film in the participating markets. This helps secure financing and optimize revenues. We need to build a European audiovisual market based on the value of each territory.

INTERVIEW

“TOGETHER FUND WANTS TO BE THE GO-TO FINANCING ALTERNATIVE FOR INDEPENDENT COMPANIES” Co-production is one model, but another is collaboration through pan-European companies. I’m seeing more and more of these alliances, which I see as coproductions multiplied by three. To build this market, we also need more engagement from broadcasters in acquiring European films. Distributors and theaters are doing their part—we now expect more from television and local SVOD platforms. Rubik: The European Investment Fund (EIF) is investing €25 million in Together Fund. How important is this support? A. L.: The EIF is investing through the MediaInvest tool, which it manages. This support is extremely important. Our sector isn’t traditionally one where private equity investors operate—it’s a complex field, often surrounded by myths. Having the EIF as our first investor helps demystify the audiovisual industry and shows it can be treated like any other. The EIF is known for its rigorous due diligence—I can personally attest to that!—and their involvement reassures other investors.

The real challenge lies in convincing national investors to invest in a panEuropean fund rather than a national one. But I’ve been through that exercise before, when I started at the EPC 23 years ago. Building Europe takes time. Rubik: The NextGeneration EU funds have been crucial in recent years. Are initiatives like Together Fund the way forward once those funds run out?

We doesn’t invest in projects—we invest in companies. We’re looking for companies that have already begun growing and are ready to scale up. A. L.: Absolutely. We see ourselves as opening the path for others to follow. We have a responsibility to pave the way for future funds. Competition in this space is a WWW.RUBIK-AUDIOVISUAL.COM

good sign—it means the sector is healthy and profitable. Rubik: How is Together Fund going to work? What kind of projects and companies will be supported? Only production companies? What is the process to apply? Will the producers retain their IP? A. L.: Together Fund doesn’t invest in projects—we invest in companies, which is a key distinction. We’re looking for companies that have already begun growing and are ready to scale up. Their core business must be production, though they can also operate in other parts of the value chain. When we invest, we take a minority stake in the company. It’s crucial that producers remain in control of their decisions—I’ve learned that over the years! Our capital is meant to help producers retain ownership of their IP, which is the future value and growth engine of their company.In just two weeks, we’ve already received many inquiries. The best way to apply is to send us a pitch deck and, ideally, a business plan. Rubik: Together Fund has a target size of €100 million. What are your plans for the coming years, and what’s the maximum amount a company can receive? A. L.: A company can receive between €2 million and €10 million, depending on its financial profile and growth projections. Together Fund has a 10-year horizon. Ideally, we’ll move quickly to launch a second fund after this one. Rubik: The fund is managed by Axio Capital. What does the company bring to this initiative? A. L.: Axio Capital is the sponsor and manager of the fund. It’s a French private equity firm operating across multiple sectors, with a specialization in small and medium-sized enterprises—where the entrepreneur is central. That’s exactly the case for production companies: producers are entrepreneurs like any others. Axio brings strong expertise, a solid team, and an excellent reputation for selecting the right companies to support. Together Fund represents a new vertical in their strategy to expand into new markets. 25

Sirat © Movistar+ / El Deseo

ROMERÍA AND SIRAT SIRAT,, TWO SPANISH CONTENDERS FOR THE PALME D’OR DESPITE FEATURING AN IMPRESSIVE ROSTER OF TOP-TIER DIRECTORS, SPANISH CINEMA HAS LONG STRUGGLED TO BE SELECTED FOR THE OFFICIAL COMPETITION AT CANNES—PEDRO ALMODÓVAR BEING THE RARE EXCEPTION, ALONG WITH THE OCCASIONAL SELECTION, LIKE ALBERT SERRA A FEW YEARS AGO. THAT’S WHY IT’S WORTH CELEBRATING THAT, IN 2025, TWO SPANISH DIRECTORS ARE IN THE RUNNING FOR THE PALME D’OR: CARLA SIMÓN AND OLIVER LAXE. CARLOS AGUILAR SAMBRICIO

here weren´t two Spanish films in competition since 2009, when both Pedro Almodóvar and Isabel Coixet were selected for Broken Embraces and Maps of the Sounds of Tokyo. Carla Simón is competing for the Palme d’Or with Romería, her third feature film and the final chapter in her trilogy exploring family memory. It began with Summer 1993—which screened in Berlinale’s Generation section and won Best First Feature—and continued with Alcarràs, which took home the Golden Bear at Berlinale. “Family relationships fascinate me because we don’t choose them. Family is the root of many conflicts, traumas, and fights, but it’s also where we find love, trust, and our deepest loyalties,” Simón says. Produced by Elastica in co-production with Ventall Cinema, Dos Soles Media, and Romería Vigo AIE, and with sales handled by mk2, the film also touches on the heroin crisis of the 1980s and the resulting HIV/ 26

AIDS epidemic—Spain had the highest incidence rate in Europe. Shot by renowned cinematographer Hélène Louvart (La Chimera, The Lost Daughter), the film tells the story of Marina, who travels to Vigo to meet her late father’s family. Both her parents died of AIDS when she was very young. Through meetings with uncles, aunts, and grandparents, she tries to piece together a coherent story of her father and his love for her mother—but shame surrounding the couple’s drug issues keeps the truth buried. The second Spanish contender for the main awards is Sirat, the fourth feature from Oliver Laxe. A Cannes favorite since his debut, Laxe now steps into the top-tier competition for the first time. His previous films (Fire Will Come, Mimosas, You Are All Captains) were all warmly received at the festival. This time, he joins forces with the Almodóvar brothers, whose production company El Deseo backs the film alongside Movistar Plus+, Filmes Da Ermida, Uri Films, and France’s 4A4 Productions. The Match Factory is handling international sales. WWW.RUBIK-AUDIOVISUAL.COM

Shot in Aragón (Spain) and Morocco, the film was co-written by Santiago Fillol and Laxe. Most of the cast consists of non-professional actors, with notable exceptions like Cesar and European Film Award-winner Sergi López and rising star Bruno Núñez (The Messiah). Oliver Laxe says the filming was hard: “It’s without a doubt my most difficult film so far — an extreme shoot in locations across Teruel, both epic and beautiful. We went from freezing winter nights in Aragón, several degrees below zero, to the scorching heat of the Sahara Desert in the height of summer. But some of that wild, over-the-top adventure behind the camera made it into the film. It’s an intense, dizzying movie, where the sharp, mineral landscape won’t leave anyone indifferent.” The story follows a man and his son on a desperate quest to find their missing daughter and sister, who disappeared during a rave in southern Morocco. Their journey pushes them into unfamiliar and perilous territory.

AT LAST, CANNES PAYS ATTENTION TO SPANISH CINEMA

panish cinema is widely admired by both French critics and industry professionals. Filmmakers such as Rodrigo Sorogoyen (The Beasts) and Jonás Trueba (The August Virgin) receive critical acclaim and release films hailed as some of the year’s best—yet they’ve still not broken into Cannes main competition. There are dynamics at play that can lead selection committees to prioritize factors beyond cinema itself. This time around, the Spanish presence at Cannes is even more significant. Rodrigo Sorogoyen will serve as jury president for the Critics’ Week, while Pablo Berger (Robot Dreams) will be the godfather of the Fantastic 7, taking over from fellow Spaniard Juan Carlos Fresnadillo. Rounding out the trio is Chema Prado, former director of the 28

Spanish Film Archive, who will be part of the La Cinef jury. Other than Romeria and Sirat in Competition, another key Spanish entry is Ciudad sin sueño (Sleepless City), the debut feature from Guillermo Galoe (formerly Guillermo García López), selected for Critics’ Week. This isn’t Galoe’s first time at Cannes: in 2023, his short Even Though It´s Night was in competition for the Palme d’Or, and Seagulls Cut Through the Sky premiered at Directors’ Fortnight that same year. Even Though It´s Night actually inspired this feature, as it also explored life in La Cañada Real, an informal settlement on the outskirts of Madrid, with poor housing conditions and lacking basic utilities. Featuring non-professional actors who live in the area, this Spanish-French co-production is backed by Sintagma, Buenapinta Media, Encanta Films, BTeam WWW.RUBIK-AUDIOVISUAL.COM

Ciudad sin sueño (Sleepless City)

AS WE SAID IN THE PREVIOUS ARTICLE, SPAIN HAS TWO FILMS IN CANNES 2025’S COMPETITION, SOMETHING THAT DID NOT OCURRED SINCE 2009. THIS IS AN INTERESTING TURNING POINT BECAUSE, EVEN THOUGH SPANISH CINEMA HAS A GOOD SLATE OF ACCLAIMED DIRECTORS, CANNES HAD TURNED ITS BACK TO THIS CINEMA. IN THIS ARTICLE, WE TAKE A LOOK AT OTHER SPANISH TITLES FEATURED IN VARIOUS SECTIONS OF THE FESTIVAL. CARLOS AGUILAR SAMBRICIO

Fillos do vento: A Rapa

CANNES FESTIVAL Prods, Ciudad Sin Sueño la película AIE, Les Valseurs, and Tournellovision. International sales are handled by Best Friend Forever. According to Galoe, the characters face “the loss of a way of life, the fading of a world that, though completely displaced, holds onto its values and myths with pride and dignity—almost quixotically.” Co-written with Víctor AlonsoBerbel and shot by Rui Poças (a frequent collaborator of Miguel Gomes), the film centers on 15-year-old Toni, who lives in Europe’s largest informal settlement. Proud to be part of his scrap-metal-collecting family, he follows his grandfather everywhere. But as demolitions approach their plot, his grandfather refuses to leave, no matter the cost. On nights without electricity, Toni must choose: face an uncertain future or cling to a disappearing world. Also featured in Cannes Première is Magalhães, a major co-production involving Spain’s Andergraun Films and El Viaje Films, alongside Philippine, Portuguese, Taiwanese, and French companies. The film is the latest from

Filipino master Lav Diaz (The Woman Who Left, Norte, The End of History). True to Diaz’s style, the film runs for a daunting 9 hours, though a shorter version will screen at Cannes. Handled by Luxbox for sales, the production stars Mexican actor Gael García Bernal as Portuguese explorer Ferdinand Magellan (1480–1521), who died in the Philippines before completing his circumnavigation voyage, which was eventually finished under the command of Sebastián Elcano. Diaz initially planned to tell the story from a European point of view but ultimately chose the Filipino perspective. In the Cannes Immersive section—a relatively new category launched last year—Spain will be represented by Fillos do vento: A Rapa by Brais Revaldería. This multisensory experience features 270° projection, 8K visuals, interactive storytelling, and ambisonic sound to immerse the viewer in a Galician ritual of strength and survival involving humans and wild horses. The project is produced by Cinexin Studios, 100 Sutton Studios, Evernia Media, Secta Corp., Wecom, and Shift

+10k

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Midtown. “The goal of this project is not to create a spectacle, but to safeguard a profound and genuine truth, inviting the viewer to take an active role”, says Revaldería. SHORT FILM SCREENINGS Spanish cinema will also have a presence in the Quinzaine des Cinéastes through the short +10k by Gala Hernández, already well known in France after winning the César Award for Best Short Documentary for The Mechanics of Fluids. Co-produced by 15L Films and Don Quichotte Films, +10k explores the role of digital and social media in shaping shared dreams. It follows Pol, a 21-yearold who lives with his grandmother and dreams of moving to Miami and earning over €10,000 a month. He attends motivational talks, follows online coaches, and invests in crypto. In the La Cinef section, focused on film schools, Marc Camardons will present Per bruixa i metzinera, his master’s work at ESCAC. The story follows a woman who

Per bruixa i metzinera

claims to have seen a fire on the mountain one night. With no embers or witnesses to back her up, her grandmother tries to help her see beyond the flames. Also in this section is Talk Me, a short by Chinese-Lebanese director Joecar Hanna, who grew up in Valencia (Spain) and now is studying in New York. The film has Spike Lee as executive producer. In a dystopian world where sex is routine and functions as a normalized form of socialization, real conversation has become a forbidden act of intimacy. PROJECTS AT THE MARCHÉ The Fantastic 7 showcase, which promotes genre cinema, includes 1999, the new project by David Casademunt (The Wasteland). Produced by Coming Soon Films and Anonymous Content, it follows Abel, a 30-year-old from Barcelona who begins to suspect he was exorcised as a child. Determined to 32

uncover the truth, he sets out to track down the ten remaining active exorcists in Catalonia. The journey awakens an obsession: what if the thing that once possessed him never really left? Linked to Fantastic 7 is Frontières, a section featuring genre projects from horror and fantasy to dark comedy. Among them is Who Knows?, the latest directorial project from comedian Carlo Padial. Produced by Corte y Confección de Películas, Outpost 31 Pictures, and Federation Spain, the film is based on a short story by 19th-century French author Guy de Maupassant. Adapted by Padial and film critic Desirée de Fez, it blends psychological horror, dark comedy, and social satire. It tells the story of a recently separated illustrator who can’t assemble IKEA furniture and ends up buying secondhand pieces from a shady seller— only to discover they start moving on their own at night. WWW.RUBIK-AUDIOVISUAL.COM

Cannes Docs will again feature a Spain Showcase organized by the Bilbao International Documentary and Short Film Festival – ZINEBI, in collaboration with ICAA and ICEX, presenting four documentaries in late production or postproduction stages. These are: If You Wish to Make an Apple Pie by Nagore Eceiza, about an interfaith love story in India shaped by tradition; Elena Gave Birth to a Beautiful Child, co-directed by Cristina Rosselló, Chiara Marañón, and Juan Soto Taborda, which uses home video footage to narrate an intimate historical transformation; La Pietà by Rafa Molés and Pepe Andreu, a memory-driven project filmed on Icelandic glaciers about seven siblings; and The Flight of the Stork, a Spanish-Qatari co-production by Soumaya Hidalgo Djahdou and Berta Vicente Salas, which follows Soumaya’s search for identity through memory and a physical journey to Algeria.

SPANISH PRODUCTION HUBS BEYOND MADRID AND BARCELONA SPAIN IS A COUNTRY FULL OF DIVERSITY AND RICHNESS—AND ITS FILM INDUSTRY IS NO EXCEPTION. BACKED BY INCREASING PUBLIC SUPPORT AT BOTH NATIONAL AND REGIONAL LEVELS, THREE REGIONS IN PARTICULAR ARE MAKING WAVES WITH A GROWING NUMBER OF SUCCESS STORIES: GALICIA, ANDALUSIA, AND THE BASQUE COUNTRY. RUBIK SPOKE WITH ORGANIZATIONS AND PRODUCTION COMPANIES IN THESE AREAS TO GET A CLEARER PICTURE OF THEIR LOCAL PRODUCTIONS AND THEIR POTENTIAL TO ATTRACT FILM SHOOTS. CARLOS AGUILAR SAMBRICIO

GALICIA: A HISTORIC MILESTONE AT CANNES

alicia takes center stage at the 78th Cannes Film Festival, with two films in the official Competition linked to this region in northwest Spain. “This is the first time something like this has happened, so we can only describe 34

it as a historic milestone,” says Dolores Meijomín, Coordinator of Audiovisual Policy at Agadic (Galician Agency for Cultural Industries). The two projects reflect Agadic’s main lines of support: audiovisual production and co-production (Sirat by Oliver Laxe), WWW.RUBIK-AUDIOVISUAL.COM

and incentives for attracting shoots (Romería by Carla Simón). Laxe’s leap to the main Competition, after all his previous films premiered in Cannes’ parallel sections, “is the result of a long journey that has grown alongside the broader Galician film scene.” As for Romería, Meijomín

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Sirat , directed by Galician Oliver Laxe © Quim Vives

explains, “it’s a major outcome for a very recent line of support aimed at positioning Galicia as a location for medium- and highbudget productions, both domestic and international.” She emphasizes that both lines “work in harmony and are tremendously beneficial for Galician cinema as a whole.” Luisa Romeo, Galician producer at Frida Films, sees Laxe’s presence in Competition as “hugely important: He’s our most internationally recognized director. His talent and his films have been supported from Galicia since the very beginning of his career. The work of Oliver Laxe, and of other Galician directors, is a direct result of cultural policies that have supported not just talent, but also production companies.” She also highlights Simón’s film, due to the incentives “that promote filming in Galicia as a natural setting.” Producer Andrea Vázquez of Miramemira agrees, saying this recognition “strengthens the international profile of Galician cinema” and “helps bring attention to a unique culture, language, and identity.” Vázquez stresses that “this milestone is not an isolated case” as Galician cinema has been on a steady path of international recognition in recent years. Beyond Laxe’s

previous titles at Cannes, she mentions films such as Out of Sync and They Carry Death at Venice Film Festival, and The Rhye Horn, winner of the Golden Shell at San Sebastián. All of this, she says, “proves that Galician cinema is no longer a prospect—it has matured into a cinema with its own voice and a solid spot in the European landscape.” Meijomín confirms this sense of maturity in Galicia’s audiovisual sector: “We’re seeing growth not only in cinema but also in fiction series and animation. There’s a balance between established companies and emerging ones (…) and more and more projects—especially in cinema—are being developed with both national and international partners as part of their financing strategies, bringing in distributors and sales agents from the start.” She adds that Galicia’s professionals and service providers “operate at the highest level both nationally and internationally.” Romeo emphasizes the ability of Galician creators to step beyond their borders: “It’s not just Oliver Laxe—directors like Jaione Camborda, Xacio Baño, Lois Patiño, and Eloy Domínguez Serén are making their mark at international festivals and at awards like the Goyas.”

Shooting of Romeria in Galicia © Mario Llorca

O Corno (The Rhye Horn)

For Vázquez, Galicia’s current standing is closely tied to institutional support, especially the role played by Agadic: “Without strong commitment from public institutions, it’s nearly impossible to build a solid, sustainable film industry.” But success, she adds, comes from a mix of “talent, identity, entrepreneurial drive, public support, and a landscape that offers enormous visual and narrative potential for filmmakers.” On the region’s creative talent, she notes: “Galicia is a place with deep cultural and historical roots, where artistic expression has always had a strong presence—and Galicians are very entrepreneurial by nature.” Romeo agrees, stating that the support from Agadic and TVG (Galician public broadcaster) “was the seed,” but Galician producers “understood that gaining visibility and crossing borders required more ambitious projects, with bigger budgets.” Meijomín says Agadic pursues strategies to “support the professionalization of the sector and ensure that production grows in a sustainable and consistent way.” They place strong emphasis “on supporting project development, encouraging an international approach from the start, and helping production companies take on multiple projects at once—either as leads or minority co-producers.” This, she says, means that projects are much stronger by the time they apply for production funding, “with the tools in place to secure financing and, ultimately, to reach their audiences.” 36

She also highlights the dynamism of Galicia’s creators and the sector’s ability to successfully carry out a wide range of projects. This strengthening of the industry has also allowed many professionals and creators to base themselves permanently in Galicia and work continuously from there, without needing to move to Madrid or Barcelona. “That’s a very positive indicator of how well established our screen industry is,” says Vázquez. “There are also professionals who live elsewhere but maintain a strong connection to Galicia and prioritize returning when a local production comes up. After the big production hubs of Madrid and Barcelona, I believe Galicia—along with the Basque Country and Andalusia—is one of the regions where there’s enough stable and consistent activity for many professionals to stay rooted,” adds the Miramemira producer. Are there common traits in Galician cinema? While it’s known for its diversity, Vázquez sees a defining characteristic in “its ability to turn the local and the intimate into universal stories. This is a cinema that has learned to look inward, drawing from its own identity and culture to tell stories that resonate emotionally with audiences around the world.” What makes it special, she says, “is that authenticity—those roots.” She also believes the relationship with the land is key: “Galicia, with its incredibly diverse landscapes, often becomes more than just a backdrop—it’s an active part of the story. Many productions are deeply connected to their environment, not only WWW.RUBIK-AUDIOVISUAL.COM

in terms of narrative but also in production design. That gives Galician cinema a powerful visual and sensory dimension that sets it apart.” Galician cinema is also starting to attract productions, according to Meijomín: “Interest is growing, though gradually and in an orderly way. Galicia has a lot to offer—starting with top-level technical and human resources, which are now expanding with the launch of two studios in A Coruña, including one virtual studio equipped with state-of-the-art technology.” In addition, “this is a land of spectacular landscapes, rich heritage, modern buildings, rural and urban settings... and a unique quality of light that helps create striking visual worlds.” She adds that Galicia offers “an experienced industry ecosystem,” and that the Xunta de Galicia provides multiple types of support, including the Film Attraction Fund, which will soon open a new call and is compatible with national incentives. Vázquez also sees growing interest from other regions to shoot in Galicia, for several reasons. First, the landscape: “Galicia offers huge visual diversity in a small area, with natural settings that have a strong cinematic pull.” But there’s also something deeper: “They come looking not just for a location, but for faces, a certain light, a way of life that inspires new storytelling perspectives.” In her view, “this combination of authenticity, visual power, and cultural tradition is making Galicia an increasingly appealing place to tell stories from a wide range of viewpoints.”

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ANDALUSIA: A REGION CAPABLE OF HANDLING PROJECTS FROM START TO FINISH

ndalusia has a long history as a destination for major Hollywood productions. But in recent years, it has also established itself as a key production hub in Spain and is working to bring its cinema to increasingly wider international audiences. We spoke with Jose Alba, producer at Pecado Films and president of ANCINE, the most prominent producers’

Tobacco Barns

association in Andalusia, and he confirms that Andalusian cinema is in a state of “permanent” growth. “In recent years, it has really taken off and has become one of the most representative film hubs in Spain,” he says. There are several factors, but Alba emphasizes the quality of the professionals involved as the most important: “We have a professional network made up of top-tier producers, directors, screenwriters, department

heads, and technicians.” He also notes a shift in the nature of the projects being developed. “Whereas in the past, many of the most prominent production companies were primarily collaborating on foreign projects, today those companies have grown and are now leading projects that are competing in the international market,” he explains. According to Victoria Fernández Andrino, Director of the Audiovisual Unit at the Andalusian Agency of Cultural

Institutions, the growth of Andalusian cinema is the result of a combination of reasons. In recent years, the sector, she says, “has gained visibility and recognition at both national and international levels, with strong showings at festivals and industry markets in Spain and abroad.” But just as crucial, she adds, has been “the consolidation of a generation of professionals with both an industrial and creative drive.” We’ve also talked to Marta Velasco, Andalusian producer at Áralan Films, who sees this growth reflected “in both the quantity and quality of productions, their presence at international festivals, and the recognition they’re gaining at home and abroad.” However, she points out that “more work is still needed to make sure this growth takes root and becomes sustainable.” Nonetheless, she praises “a generation that chose to stay and tell our own stories from Andalusia,” which has helped build

Saturn’s Return

“a strong foundation that is now beginning to bear fruit.” The public sector has also played a key role in this rise, Fernández Andrino emphasizes: “Support through targeted funding lines has increased in 2025 to 6 million euros in direct aid to the sector—an unprecedented figure since the Andalusian government began managing audiovisual support—and it doubles the budget of previous years. What’s more, we can proudly say that our administration is extremely efficient, possibly the fastest and most effective in Spain when it comes to processing and resolving funding calls in 2025.” In addition to the public grants managed by the Andalusian Agency of Cultural Institutions, she also highlights “the involvement of Canal Sur as a coproducing partner,” as well as “synergies with other initiatives like the Andalucía Film Commission and the LAND Audiovisual Cluster,” which “strengthen the regional strategy” and have helped create “a competitive ecosystem.” Marta Velasco considers the support from Canal Sur and funding from the Andalusian Ministry of Culture “essential,” stating that without them, “it would be impossible to produce.” WWW.RUBIK-AUDIOVISUAL.COM

For his part, José Alba stresses the importance of establishing ANCINE and, later, the Andalusian Film Academy, which fostered “a strong sense of unity” in the industry—particularly in terms of “dialogue with public institutions and broadcasters, especially with Canal Sur.” This, he notes, has led to better mutual understanding: “Before, the communication wasn’t so fluid.” “With Canal Sur, we’ve been working very well for years—always growing and improving. Both their investment and the quality of the projects being pitched by producers are on the rise. We’re on track to make Canal Sur the most competitive and appealing regional broadcaster to work with, enabling us to lead bigbudget projects capable of competing in international markets,” says the ANCINE president. According to Alba, the relationship with the Andalusian regional government is also improving: “It’s a similar story— there’s a clear and demonstrated commitment, though the process has been slower.” Still, he believes this support must be maintained and reinforced over time to have a real impact on the industry. This year, “funding for production has doubled, 39

Victor Erice in the shooting of Close Your Eyes © Manolo Pavon

there have been new development grants, support for internationalization, and above all, the Andalusian Agency of Cultural Institutions has become more professionalized”—something that, he says, has helped “tremendously.” He also notes a growing industrial infrastructure that didn’t exist before, including new film labs and postproduction or animation studios: “Now we’re a region fully capable of handling a project from beginning to end.” On this point, Marta Velasco shares that she belongs to a generation that “was always taking the high-speed train back and forth.” In her case, she has always produced from Andalusia, though she sometimes shoots elsewhere, depending on the story or because incentives in places like the Canary Islands or the Basque Country allow productions “to reach the budget levels that today’s films require.” As we’ve seen, Andalusian cinema is becoming more established, although it’s still rare to see it featured at festivals like Cannes. We asked José Alba about this, since he was at Cannes Premiere a couple of years ago with Close Your Eyes, the latest film by Víctor Erice. “Reaching that level requires a combination of factors: 40

production value, the quality of the work and the filmmakers, the international distributor, whether there’s a French coproducer, and so on,” he explains. But the most important factor, he stresses—the starting point—is “having projects with production values above average.” That’s why the increased support from the Andalusian government and Canal Sur is so critical, since it allows producers, he says, “to lead larger-scale projects from Andalusia.” “We’re on the right path, but there’s still ground to cover. Right now, a project could receive up to €800,000 by combining both regional funding sources. But the short-term goal—within a year or two—should be to reach between €1 million and €1.25 million,” adds Alba, who believes that with the right resources, Andalusian films will soon be “competing regularly at festivals and awards ceremonies around the world.” As for common traits in Andalusian cinema, Fernández Andrino points to “a growing commitment to innovation, and a desire to grow and make increasingly ambitious productions.” Alba, meanwhile, believes Andalusian cinema is inherently “optimistic”, with stories that “always lean toward the light.” WWW.RUBIK-AUDIOVISUAL.COM

He thinks it’s something filmmakers do unconsciously, but “it’s beautiful because it speaks to our essence.” Beyond growing as a source of original stories, Andalusia remains a major filming location. As Marta Velasco points out: “Andalusia has long been a highly attractive filming destination for many reasons—its diverse locations, the climate, and the talent of its professionals.” She also stresses that Andalusia’s own financing sources are crucial for setting up co-productions: “If the story requires it and the opportunity is there, we can join more productions that we otherwise wouldn’t be able to, were it not for these resources.” According to Victoria Fernández Andrino, Andalusia is especially valued for “the diversity of its locations, the technical and artistic quality of the local industry, cost competitiveness, and the strong, agile institutional support team managing grants at the Agency.” It’s true, she acknowledges, that “Andalusia is at a disadvantage compared to other Spanish regions when it comes to tax incentives.” Even so, “we remain a sought-after region for filming and investment.”

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THE BASQUE COUNTRY: A POWERHOUSE THAT GOES BEYOND TAX INCENTIVES

mong the three regional film industries featured in this report, the Basque Country clearly stands out as the most developed, with a cinema that has steadily grown stronger in recent years.

The Giant

That’s exactly what Mar Izquierdo, general coordinator at Zineuskadi—an organization dedicated to promoting Basque cinema—emphasizes: “I think Basque cinema has been growing and gaining international recognition for many years now. The projects keep getting bigger, with more ambitious budgets, and

Shooting of 20.000 Species of Bees

production companies are increasingly involved in the development phase. More people are traveling to markets, labs, and pitch forums where they meet potential co-producers and festival programmers. They’re going abroad, and that’s paying off.” Izquierdo also points out the significance of the Basque language no longer being perceived as a barrier. Films like 20,000 Species of Bees (Berlinale), Irati (Sitges), and Negu Hurbilak (Locarno) have all had successful festival runs. “All of them are in Basque, and that helps dispel the few lingering doubts about producing films in the language,” she adds. We also spoke with Leire Apellaniz, producer at Señor & Señora and vice president of EPE-IBAIA, the main association of Basque production companies. For her, the growth of Basque cinema is “obvious.” “You just have to look at the films selected for festivals or nominated for the Goya Awards and count how many are Basque.” “There’s a new generation of Basque producers making auteur-driven cinema right here,” she says. “At the same time, people are also coming here to make more commercial films.” WWW.RUBIK-AUDIOVISUAL.COM

Koldo Zuazua, producer at Kowalski Films and the other vice president of EPEIBAIA, agrees that both the number and quality of Basque productions have grown. He attributes this to the sustained—and in some cases reinforced—public support from the Basque Government, provincial councils, and the regional broadcaster ETB. Zuazua also highlights the increased tax incentives as a “key factor.” “Structurally, building on a solid foundation, there has been a major reinforcement. It’s been a steady upward trajectory, and I think these policies are well coordinated. That has created fertile ground for productions to flourish here, using local talent and crews,” he explains. Apellaniz believes that public funding from the Basque Government is “fundamental,” and points out that, “alongside Catalonia and the Valencia Region,” the Basque Country has “some of the most significant regional support programs.” She also stresses the strategic role of ETB, which allows producers “to start building projects from there and secure public funding early on.” This private financing is crucial—even for debut films by women directors, which can 43

FEATURES secure up to 75% of their budget through public funding. Neither Apellaniz nor Zuazua believe there’s a defining trait to Basque cinema. “We’re making wildly diverse films—lots of documentaries, highly auteur-driven fiction, even experimental work, as well as very commercial projects,” says Apellaniz. “There’s a huge range.” Still, she acknowledges that “there is a strong auteur presence,” with many production companies “closely tied to filmmakers—like Moriarti, Aritz Moreno, Txintxua Films, Ion de Sosa, or myself.” But even within that authorial profile, she notes, tastes vary widely. Zuazua, for his part, believes identity elements don’t dictate production—“except perhaps in the case of films made in Basque, which may carry more local or cultural connotations.” However, he emphasizes that with the rise of streaming platforms, “there’s been a shift in recent years toward demand for local content, stories rooted in specific regions.” He sees Spain’s decentralization of film production as “something that happened naturally,” but also notes that “platforms and broadcasters are actively seeking it,” which has helped “spread out the talent” and encouraged “stronger crew structures.”

Apellaniz links the growing number of professionals in the Basque industry to the tax incentives and the steady flow of productions being shot there. At the same time, local producers also benefit from those incentives, which allows them to develop more ambitious films: “The landscape has changed, and many people are staying here because now it’s possible to shoot all year round.” This increased demand has also reshaped technical crews, says Zuazua: “Before, to head a department, you had to move up the ranks over the course of four or five films. Now, with so much demand, people are taking on key roles earlier in their careers. Sometimes that’s great, because you discover new talent quickly. But other times it’s not ideal, as people may take on responsibility before they’re truly ready.” To support the growing interest in filming in the region, the new Film Basque Country initiative was launched as a central information hub. “Since we set it up, we haven’t stopped receiving inquiries,” says Izquierdo. “The tax incentive is the main draw, but our goal is to get those who come to also see what’s being made here—and hopefully stay to co-produce local projects.” The full impact of the Basque Country’s generous new tax incentives is still hard to quantify, but Izquierdo hopes they will also “boost the local industry,” and that

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productions won’t come here “just for the tax break.” Encouragingly, she says, more and more producers are beginning to ask about the local ecosystem. Zuazua acknowledges the tax incentives are having a major effect. “Last year was incredible, especially in terms of national productions shooting in Gipuzkoa and, more notably, in Bizkaia,” he says. The boom has been so intense that “the audiovisual market became saturated,” and many productions “had to bring in crew from Madrid and other regions because the local resources couldn’t keep up.” The Basque Country is also investing in infrastructure, with new soundstages and studios. “There are some significant soundstages in Gipuzkoa, such as Zinealdea, that have seen strong demand, and others in Bizkaia, along with new projects in development,” the producer explains. Zuazua emphasizes that “a lot of service companies are being established or consolidated in the Basque Country, whether in equipment rental (camera, lighting, etc.) or postproduction. That’s really professionalizing the sector.” He says it’s essential to build “a strong, stable industry”. What remains to be seen is “whether these investments will have longterm staying power”.

Marchè du Film 2024

SPAIN BUILDS MOMENTUM IN THE MARCHÉ DU FILM AS WE SAID IN A PREVIOUS ARTICLE, SPAIN HAS A RELEVANT PRESENCE IN THE FESTIVAL THIS YEAR, WITH TWO FILMS IN COMPETITION LEADING THE PACK, BUT INDUSTRY PROFESSIONALS SHOULD ALSO KEEP AN EYE ON SPAIN AT THE MARCHÉ DU FILM (MAY 13-21). THE SPANISH DELEGATION IS ALWAYS ONE OF THE LARGEST ONES AND HERE YOU CAN FIND ALL THE RELATED INFORMATION FOR CANNES 2025 IN ORDER TO FOSTER BUSINESS OPPORTUNITIES.

CEX and ICAA set up once again the Spanish participation with the Cinema from Spain pavillion. This huge booth (Riviera A3-A5) hosts exhibitors such as Latido Films, Begin Again Films, Feelsales, Bendita Film Sales, Sideral Cinema, Films from Galicia, Basque. Audiovisual, Canary Islands Film, EGEDA, Video Mercury, and The Film Agency. Next to the pavilion, at Riviera A4, visitors can find Catalan Films (which will present the new edition of the publication 46

Shoot & Coproduce, a guide to encourage co-production) and the sales company Filmax is at Riviera A1. Also, Sitges Film Festival will be at Riviera J1 and sales company Film Factory will host buyers at the First Croisette residence, right in front of the Palais (3/4 Boulevard de la Croisette), Apartment 602. Let´s dive into the Spanish-related activities, beginning with a TIFF Presentation at the Cinema from Spain pavillion on Thursday, May 15th (10 am). This is an event for the Spanish delegation accredited under Cinema from Spain WWW.RUBIK-AUDIOVISUAL.COM

only. Toronto International film Festival’s Chief Programming Officer Anita Lee and VP of Industry and Theatrical Geoff Macnaughton will give info on the new official Content Market that Toronto is launching for 2026. They will present on strategy, programming and opportunities for producers, sales agents and distributors based in Spain. Spanish public bodies have organised networking events for Friday, May 16th – Monday, May 19th at the Cinema from Spain pavillion: ‘Networking Breakfasts & Snacks With Our Producers’ at 10 am

CANNES FESTIVAL and 3 pm. This is a great opportunity to mix and mingle with Spanish producers. Spain and China aim to boost cooperation during the market. There will be a enconter, ‘Crossing Borders: SpainChina Film Co-Production’ on Friday, May 16th (5:30 pm) at the Producers Club, Lérins. Access is by invitation only. Spain is going all out this year at Cannes Docs. For example, Spain will be the host of the Cannes Docs Happy Hour on Saturday, May 17th (6:30 pm) at The Viewpoint, Lerins. You can only access by invitation. Spain again plays a key role at Fantastic 7. Besides the selected project 1999 by David Casademunt and filmmaker Pablo Berger being the godfather, Spain organises the Fantastic Night on Sunday, 18th (10:30 pm) at Bistrot du Lérins, Palais des Festivals. Access is by invitation only (difusion.icaa@cultura.gob.es) For the second time, within Docsin-Progress at Cannes Docs will be a Spain Showcase co-organised by ZINEBI Film Festival with ICEX and ICAA. The presentations will be held at Lérins 4 Screening Room on Sunday, May 18th at 10 am. This has a first-come, first-served basis for Marché badge holders, There will be four Spanish documentary projects currently in

development, featuring the creativity and unique storytelling that define Spanish documentaries: If You Wish to Make an Apple Pie by Nagore Eceiza (El Santo Films), Elena Gave Birth to a Beautiful Child by Cristina Rosselló, Chiara Marañón and Juan Soto Taborda (LaCima), La Pietà by Rafa Molés and Pepe Andreu (Suica Films), and The Flight of the Stork by Soumaya Hidalgo Djahdou and Berta Vicente Salas (Migranta Films). Spain will be prominent in the market with another Showcase, but within Cannes Remakes, Marché’s section for those in search of fresh IPs to adapt for the big screen or global streaming services. The presentation will take place on Monday, May 19th - 9:30 am) at the Plage de CNC. There will be an exclusive selection of Spanish IPs ready to be remade into new screen adaptations: the comedy The Friend Zone, directed by Borja Cobeaga (2009), whose sales are in charge of Cinema Republic; the comedy The People Upstairs, directed by Cesc Gay (2020),with Filmax handling sales; and the thriller All the Names of God, directed by Daniel Calparsoro (2023), whose rights can be bought to Latido Films. ECAM Industria has an agreement with Marché du Film and the result is the project Face of Grace (Allegra Pictures,

Networking at Marché du Film 2024

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CANNES FESTIVAL

Marché du Film 2024

Nocturna Pictures) directed by Anna Martí Domingo and Laura Santos Martí, will participate in the Focus COPRO’ section (Cinéma de Demain). For the fifth time, the 2Cool4School program, set up by ICAA, ICEX and the Short Film Corner of MAFIZ Málaga, will bring four film school students to participate in training and networking activities at the Short Film Corner in Cannes. The four works are Autorretrato (Camille Irrgang & Ornella Corigliano), Un piso estupendo (Camila de Lucas & Andrés Daniel Pérez Valderrama), Una mañana, el diablo (Pablo López Lozano & Jiniris Correa Rodriguez) and El tercer paisaje (Julen Etxebarria Moral & Paolo Tizón). Within Short Film Corner, Catalunya has selected six short films at Shortcat 2025: Made of Sugar by Clàudia Cedó (Lastor Media and Suica Films), The Prince by Àlex Sardà (15-L Films and Canada), Skin Despair by Mireia Vilapuig (Nanouk Films), Our Room by Jaume Claret (Jaume Claret, Dvein Films, Elías Querejeta, Zine Eskola and Miramemira), Mater Benefacta by Marc Riba and Anna Solanas (I+G Stop Motion) and Where There is No Light by Julia Garcia (Corte A Films). 48

Composer Joan Vilà has been selected in the Spot the Composer, an initiative that enhances the visibility of composers and aims to connect them with productions in various stages and their directors. One of the hightlights this year will be the panel ‘Spain Audiovisual Hub: A Successful Model and New Opportunities for Investment in Audiovisual Industry’. The Main Stage will be the place of this event which will be conducted on May 20th at 10 am. This plan has consolidated the screen industry as a strategic sector. Now, the Spanish Government seeks to implement financial instruments that will represent a new leap for Spain as an audiovisual hub in Europe. This talk will present the different lines of financing, totalling 1,712 million euros for the audiovisual sector. The speakers will be María Coronado, Audiovisual Director for SETT Spanish Society for Technological Transformation; María González Veracruz, Secretary of State for Digitalization and Artificial Intelligence in the Ministry for the Digital Transformation and Civil Service; and Carla Redondo, General Director for the Management of Digitalization and Audiovisual Communication Services in WWW.RUBIK-AUDIOVISUAL.COM

the Ministry for the Digital Transformation and Civil Service. SPANISH TAKING PART AT CONFERENCES On May 14 at 5 pm (Palais Stage & Online), there will be a panel presented by Yes She Cannes & Fantastic Pavilion called ‘Female Visibility, Voice and Creative Power in Genre Film’ and one of the speakers will Mònica Garcia, General Director of Sitges Film Festival. The next day, May 15, the Palais Stage will host at 10 am the roundtable ‘Latin Blood: The Vibrant Rise of Genre Cinema in Latin America’, presented by Blood Window, Morbido & Fantastic Pavilion. Spanish producer Enrique López-Lavigne will be one of the panelists. At 2 pm, Palais Stage will have a very interesting conference: ‘Circulation of European Films: Youth Preferences & Latin American Markets’. It will explore how the European films reach Latin American and the challenges and opportunities for European cinema in the region. Two REBOOT researchers from the Carlos III University of Madrid wil take part: Mª Trinidad García Leiva and Isabela Vargas.

SPANISH SALES COMPANIES Salle Debussy © Mathilde Petit / Cannes Festival

BENDITA FILM SALES Manas

The Devil Smokes

The Portuguese House

May 17th (Sat) 2:00 pm @ Palais E May 19th (Mon) 11:30 am @ Palais H

(El diablo fuma) May 15th (Thu) 1:30 pm @ Palais F

(Una quinta portuguesa) May 16th (Fri) 4:15 pm @ Palais G

FILM FACTORY Barren Land (Tierra de nadie) May 18th (Sun) 3:45 pm @ Lerins 2

The Gentleman (Ya no quedan junglas donde regresar) May 13th (Tue) 3:45 pm @ Lerins 4 May 17th (Sat) 9:30 am @ Olympia 6

The Redemption (La deuda) May 19th (Mon) 12:00 pm @ Olympia 4

The Talent (El talento) May 14th (Wed) 5:45 pm @ Lerins 4 May 18th (Sun) 9:30 am @ Lerins 1 50

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CANNES FESTIVAL

MARKET SCREENINGS LATIDO FILMS

FILMAX

Ancestral – Fantastic Pavilion Screening

Fury (Furia)

May 18th (Sun) 8:00 pm @ Olympia 3

May 14th (Wed) 11:30 am @ Palais D

Away (Molt Lluny) – Market Premiere

Join Me For Breakfast (Esmorza amb mi)

May 17th (Sat) 12:00 pm @ Palais G May 18th (Sun) 11:30 am @ Riviera 2

Re-Creation – Market Premiere May 14th (Wed) 1:30 pm @ Palais J (Buyers Only, No Press) May 17th (Sat) 1:30 pm @ Olympia 9 (Buyers Only, No Press)

Wolf Beach (Playa de lobos) May 17th (Sat) 12:00 pm @ Riviera 1

May 17th (Sat) 3:45 pm @ Palais D

Leo & Lou May 15th (Thu) 11:30 am @ Palais D (By Invitation Only) *

My Friend Eva (Mi amiga Eva) May 15th (Thu) 9:30 am @ Lerins 1 (By Invitation Only) * May 17th (Sat) 11:30 am @ Palais D (By Invitation Only) *

Our Father, Our President (Parenostre) May 16th (Fri) 4:15 pm @ Palais C

May 14th (Wed) 3:45 pm @ Palais D (By Invitation Only) * May 16th (Fri) 5:45 pm @ Palais H (By Invitation Only) *

The Light of Aisha (La luz de Aisha) May 14th (Wed) 9:30 am @ Palais C

The Treasure of Barracuda (El tesoro de Barracuda) May 15th (Thu) 4:15 pm @ Palais E (By Invitation Only) * May 18th (Sun) 11:30 am @ Palais D (By Invitation Only) *

The Virgin of the Quarry Lake (La virgen de la tosquera) May 16th (Fri) 12:00 pm @ Palais E (By Invitation Only) * May 17th (Sat) 9:30 am @ Lerins 1 (By Invitation Only) *

* By Invitation Only: All International Buyers are invited to attend 51

The Mysterious Gaze of the Flamingo

LATIN AMERICA AND PORTUGAL GEMS IN CANNES LINEUP AT RUBIK MAGAZINE, WE ALWAYS LIKE TO SHINE A LIGHT ON IBERO-AMERICAN CINEMA (LATIN AMERICA, SPAIN, AND PORTUGAL), SO IN THIS ARTICLE WE’LL TAKE A LOOK AT THE TITLES SELECTED FOR THE 78TH EDITION OF THE CANNES FILM FESTIVAL. THIS YEAR, CHILE, BRAZIL, AND PORTUGAL TAKE CENTER STAGE, WHILE THE EFFECTS OF ARGENTINA’S NEW ECONOMIC POLICIES ARE STARTING TO LEAVE ITS HARMFUL MARK. CARLOS AGUILAR SAMBRICIO

e won’t dwell on The Secret Agent, directed by Brazilian film maker Kleber Mendonça Filho, which is the only Latin American film in

A Solidão Dos Lagartos (The Loneliness Of Lizards).

Competition, as we already talked about it at the beginning of the magazine. Also, regarding Filipino master of slow cinema Lav Díaz, we also went through his new film Magalhães (Magellan), which

is co-produced by Portugal and Latam countries, at our article dedicated to Spanish Cinema. Out of these two, the main film at Cannes 2025 is La ola (The Wave),

CANNES FESTIVAL

directed by Sebastián Lelio, selected at Cannes Premiere. Chilean filmmaker is one the acclaimed Latam directors due to works like A Fantastic Woman and Gloria. FilmNation is handling international sales for his new film, produced by Fabula in coproduction with Participant and Fremantle. It’s a musical about the 2018 feminist protests, telling the story of Julia, a music student who joins a group of women rising up to expose the harassment and abuse many of their classmates have endured. “I’m fascinated by the idea of using the musical genre—with all its romance and

grandeur—to talk about Chile’s inspiring youth-led feminist movement, mutual consent in the post-#MeToo era, and the political potential of the people,” says Lelio. Un Certain Regard is the section where we’ll find the most Latin American cinema this year. One of the highlights is another Chilean filmmaker, Diego Céspedes, whose debut feature, The Mysterious Gaze of the Flamingo, is produced by Quijote Films (Chile), in co-production with Les Valseurs (France), Irusoin (Spain) and Varios Lobos (Mexico). Charades is the sales company of this film that circles around Lidia (12), who lives in a desert mining town struck by a mysterious illness—one that, according to local rumors, is spread when a man falls in love with another through a simple glance. Alexo (28), Lidia’s kind and nurturing older brother, and his drag performer friends are blamed for being carriers. Lidia must confront this homophobic myth to protect the only family she has. Colombian filmmaker Simón Mesa will also be featured in this section. Winner of the Palme d’Or in 2014 for his short film Leidy, his debut feature Amparo competed in the Semaine de la Critique. His new film, A Poet, is a tragicomedy produced by Ocúltimo and Medio de Contención Producciones, with international sales handled by Luxbox. What is it about? Óscar Restrepo’s obsession with poetry has brought him no glory. Aging and erratic, he has succumbed to the cliché of the poet in the shadows. Meeting a humble teenager and helping her cultivate her talent brings some light to his days, but dragging her into the world of the poets may not be the way…

The third movie at Un Certain Regard is O Riso e a Faca (I Only Rest in the Storm), helmed by Pedro Pinho, a production from Portugal (Uma Pedra no Sapato and Terratreme Filmes), in co-production with France (Still Moving), Romania (deFilm) and Brazil (Bubbles Project). Paradise City Sales is in charge of sales. Pinho won the FIPRESCI Prize in Cannes 2017 when he premiered The Nothing Factory in the Semaine de la Critique. His next effort is this film about Sergio, who travels to a metropolis in West Africa to work for an NGO as an environmental engineer on a road project between the desert and the forest. There, he becomes entangled in a relationship with two inhabitants of the city, Diára and Gui. As neo-colonial dynamics among the expatriate community unravel, this fragile bond becomes his only refuge from an impending collapse into solitude or barbarism. Besides, we don´t want to ignore in Un Certain Regard the film Once Upon a Time in Gaza, directed by Palestinian siblings Arab and Tarzan Nasser, because it´s coproduced by Ukbar Filmes (Portugal). ACID is an association of film directors which, since 1992, has been promoting the cinema distribution of independent films. They organise one of the sidebars at Cannes and this year Latam and Portugal have a strong presence. First, we want to highlight the selection of The Black Snake, directed by Aurélien Vernhes-Lermusiaux. Produced by Dublin Films (France), it´s coproduced by Burning (Colombia) and Vulcana Cinema (Brazil), with Laima Producciones (Colombia) as associated producers. The film is focused on Ciro who, after years of absence, is back

Entroncamento

The Black Snake

in the Colombian Tatacoa desert, at the bedside of his dying mother. As he confronts those he has abandoned and an age-old legacy, the last guardians of the desert prowl a land as sublime as it is fragile. Argentine cinema is already feeling the impact of Javier Milei’s rise to power and his eagerness to slash funding for independent, auteur-driven films. Lucio Castro is been selected at ACID and is the only Argentine filmmaker with a feature film in Cannes 2025. And the film, produced by Alsina 427, was only possible thanks to the US co-production. Castro’s first film was Fin de siglo (End of the Century), Best Argentine Film at BAFICI 2019. Earlier in 2025, he premiered After this Death in Berlinale and now, his next effort

is Drunken Noodles. It deals with Adnan, a young art student who arrives in New York City to flat-sit for the summer. He’s interning at a gallery where an unconventional older artist he once encountered is being exhibited. As moments from his past and present begin to intertwine, a series of encounters – both artistic and erotic – open cracks in his everyday reality. Sales are handled by M-Appeal. Portuguese filmmaker Pedro Cabeleiro directed Damned Summer, which premiered at Locarno in 2017 earning a Special Mention by the Jury. ACID will feature his second work, Entroncamento (Night Passengers), produced by Optec Filmes (Portugal) and co-produced by Kometa Films (France), has Pluto Film as the sales WWW.RUBIK-AUDIOVISUAL.COM

company. The movie takes a closer look at Laura. Escaping a turbulent past, she tries to rebuild her life, but disillusioned youth is not so different from herself. Can an honest job compete with the lure of crime? Violence, misfortune, greed and loyalty rule the streets. Everyone wants a better life. At RUBIK we also want to take a look at shorts. First of all, at Cannes Shorts Competition, Portuguese Inês Nunes will show A Solidão Dos Lagartos (The Loneliness Of Lizards). It revolves a spa surrounded by salt mountains, where guests lounge and sunbathe while workers harvest glistening crystals under the sun. Children run off, escaping the watchful eyes of the adults, and a woman drifts through the landscape in a haze, detached from reality. As night falls, the space transforms, shaped by the desires of those who move through it. More Latam shorts at Cannes: the Semaine de la Critique has selected Samba Infinito, a co-production by Brazil and France directed by Leonardo Martinello, whose Fantasma Neon (2021) he won the Golden Leopard for Best International Short Film at the Locarno Film Festival. What´s the storyline? During Rio’s Carnival, a street cleaner struggles with the loss of his sister and his work obligations. Amid the celebrations, he finds a lost child and sets out to help him. La CINEF (previously the Cinéfondation Selection) is a section devoted to the search for new talent. It selects short and medium-length films each year from film schools all over the world. This year we can find O Pássaro de Dentro (The Bird From Within), directed by Portuguese Laura Anahory from Escola das Artes – UCP. It´s an animated film that follows a woman and the bird which lives inside of her, and how their inability to co-live together leads to physical wounds to her body. The other Latam short at the La Cinef is Tres (Three), directed by Argentine Juan Ignacio Ceballos, sheltered by UCINE. The story follows Mario and Belén, who plan a surprise for her brother Danilo by bringing Paula along. What starts as a casual couples’ dinner in the countryside at sunset seems harmless enough, but as the evening goes on and the drinks keep flowing, cracks begin to show — revealing the hidden tensions in their relationships and the darkness each one carries inside.

INTERVIEW DIRECTOR OF PANAMÁ FILM COMMISSION / VICE MINISTER OF CULTURE OF PANAMA

MARÍA CECILIA ARIAS & ARIANNE BENEDETTI PANAMA WILL BE THE COUNTRY OF HONOR AT THE NEXT MALAGA FESTIVAL. THE PANAMANIAN INDUSTRY HAS INTENSIFIED ITS STRATEGY HAND IN HAND WITH THE COUNTRY’S INSTITUTIONS TO ATTRACT INVESTMENT IN THE AUDIOVISUAL INDUSTRY, PROJECTING A 2025 OF UNPRECEDENTED GROWTH. THE FILM COMMISSION, WITH A CLEAR AND AMBITIOUS VISION, HAS DESIGNED A ROBUST INTERNATIONAL AGENDA AND INTENSIFIED THE PROMOTION OF THE COUNTRY’S ATTRACTIVE INCENTIVES TO CONSOLIDATE IT AS A REGIONAL FILM HUB. A TEAM EFFORT BY THE DIRECTOR OF THE FILM COMMISSION - MARÍA CECILIA ARIAS TOGETHER WITH THE VICE MINISTER OF CULTURE ARIANNE BENEDETTI. WE’VE REACHED THEM. MIGUEL VARELA

PANAMÁ, GUEST COUNTRY IN MÁLAGA 2026

ubik: Panama will be the guest country at the MAFIZ in Málaga in 2026. How do you think this opportunity can help you, and even though it’s still some time away, how do you plan to take advantage of it to promote Panama there? Panama Film Commission: Yes, Panama will be the guest country at the prestigious Málaga Film Festival 2026 — one of the most important festivals in the European region. This is a great chance to showcase the best of our industry and our talents. We’ll be presenting projects in development, film premieres, and placing a special spotlight on our incentives and advantages for filmmaking. The world is ready to discover more about Panama’s talent and audiovisual production. Our aim is to promote national audiovisual projects internationally and to build bridges that open more opportunities for our film industry. 56

Rubik: What are the main attractions for filming in Panama — in terms of locations, tax incentives, infrastructure, etc.? P. F. C.: Panama offers an exceptional environment for audiovisual production — not only due to its strategic geography and cultural diversity but also thanks to a strong combination of tax incentives, logistical ease, and specialized infrastructure

designed to attract and support highquality international productions. Filming in Panama means accessing a small country in size, but one that’s huge in cinematic possibilities. Panama City’s air hub — the most connected in Latin America — along with interoceanic ports and access to seven undersea fiber optic cables, makes the country a strategic and logistical powerhouse

Panama Film Commission meeting at the latest European Film Market

Arianne Benedetti (left) and María Cecilia Arias (right)

for the production, transmission, and distribution of content. Filming in Panama also means engaging with a diverse, creative society deeply proud of its cultural heritage. From Afro-Caribbean, Indigenous, and rural communities to an ever-evolving urban arts scene, the country offers not just backdrops but unique stories, faces, and rhythms. This human richness and diversity enhance audiovisual narratives and bring an authenticity that’s hard to replicate in studios or artificial sets. Additionally, the growing pool of national talent — actors, musicians, dancers, visual artists — serves as a creative asset for productions seeking local grounding and regional resonance. Choosing Panama as an audiovisual production destination is a bet on a setting that combines institutional efficiency, competitive incentives, and a true commitment to the creative industries. This comes with unmatched cultural richness, a diverse population, and infrastructure that connects continents. The Panama Film Commission supports each project with transparency, efficiency, and strategic vision, confident that every story can find its best expression here. Rubik: What kind of filming locations can be found in Panama?

“THE FILM COMMISSION OPERATES A ONE-STOP SHOP THAT CENTRALIZES FILMING PERMITS, IMMIGRATION, CUSTOMS, AND OTHER STATE PROCEDURES” P. F. C: Panama is a geographic and cultural melting pot. Within minutes, a crew can move from a modern urban center to a pristine beach, dense jungle, or an Indigenous community. The proximity of these locations — from the Atlantic to the Pacific in 80 km, or from jungle to city in just 10 minutes — allows producers to save time and logistical costs without sacrificing aesthetic variety or authenticity. The country has hosted high-profile international productions such as James Bond, Money Heist, and Suicide Squad 2, demonstrating its versatility and experience. Rubik: Tax incentives are always a key factor when deciding where to shoot a film or series. What does Panama offer in this regard? WWW.RUBIK-AUDIOVISUAL.COM

P. F. C: Panama offers a 25% cash rebate on local spending for goods and services for productions that invest at least B/.500,000 (USD). This incentive is competitive both regionally and globally and is supported by a regulated process that includes expense audits, ministerial resolution, and disbursement through public funds. The legal certainty of the rebate and the technical support from the Film Commission ensure transparency and predictability. In addition, productions can benefit from tax exemptions on the import of temporary equipment used exclusively during filming. This reduces operational costs and speeds up the entry of technology into the country, especially for productions with high technical demands. Rubik: You mentioned that the Panama Film Commission operates as a one-stop 57

Arianne Benedetti, during the visit of the Institutions to the stand of the Panama Film Commission at the last Malaga Film Festival.

shop for all filming-related processes. What does this mean? P. F. C.: The Film Commission operates a one-stop shop that centralizes filming permits, immigration, customs, and other state procedures. This simplifies and speeds up the process of bringing in foreign talent, with institutional backing from the Ministry of Commerce and Industries through the Panama Film Commission.

“Panama stands out in the region for its stable political and economic environment, use of the US dollar as official currency, and a robust financial system. This combination provides legal security and predictability” Panama stands out in the region for its stable political and economic environment, use of the US dollar as official currency, and a robust financial system. This combination provides legal security and predictability — crucial factors for planning international projects. Additionally, the country maintains low crime rates in key production areas and has reinforced institutional support protocols, generating confidence for companies seeking a safe, organized, and professional environment. Rubik: What major international productions have you hosted in recent years, and what feedback have you received about filming in Panama? 58

P. F. C.: In recent years, Panama has strengthened its profile as a reliable and versatile filming destination, hosting a wide range of international productions — from blockbuster films to reality shows, fiction series, documentaries, and digital content. These include: James Bond – Quantum of Solace, Contraband, Escobar: Paradise Lost, Narcos, Survivor, Amazing Race, Loving Pablo, Hands of Stone, Perfect Match. Among the more recent ones are: Money Heist (2018), the hit Spanish series that shot part of its third season in the Guna Yala archipelago, highlighting the remote beauty of Panama’s Caribbean; Suicide Squad 2 (2020) by Warner Bros., which chose Panama and Colón for their blend of historic architecture and tropical scenery; Beyond the Edge (2021) and The Challenge: All Stars (2021), high-budget TV productions filmed in Bocas del Toro and other regions; Deal or No Deal Island (2023, returning for season 2 in 2024), filmed across Panama’s marinas, coasts, and jungles; Mr. Beast (2023 and also returning in 2024), one of the world’s most influential content creators, chose Panama for a high-impact episode, taking advantage of the country’s logistics and natural spectacle; Coolie miniseries (2024), a large-scale historical drama that found the perfect visual and human setting for its narrative; four Hallmark movies (2023 and returning in 2024); and several international reality shows such as The Amazing Race Suomi (2024) and Married at First Sight (2024), all of which took advantage of Panama’s diverse locations and efficient production routes. WWW.RUBIK-AUDIOVISUAL.COM

“Panama offers a 25% cash rebate on local spending for goods and services for productions that invest at least B/.500,000 (USD). This incentive is competitive both regionally and globally “ In addition to these, dozens of documentaries, high-end commercials (like the NERDS ad for the 2025 Super Bowl), soap operas, series, and online content have been produced in Panama between 2020 and 2024 — proving the country’s flexibility in adapting to different genres and production scales. Rubik: What feedback have the producers given you? P. F. C.: The feedback we’ve received from these productions has been consistently positive. For confidentiality reasons, some names can’t be disclosed, but we can confidently say that many of these productions have returned, increased their investment after their first experience in the country, and are planning to return in 2025. Ultimately, Panama has not just been a stopover for filming — it’s a location that leaves a mark: for its accessible geographic diversity, minimal need for large-scale logistics, institutional efficiency, professionalism, human warmth, and creative potential.

A ‘BEAST’ FOR VIRTUAL PRODUCTION

HOLLYWOOD EMBRACES THE GRAN CANARIA VIRTUAL PRODUCTION STUDIO XR SINCE EARLY 2023, GRAN CANARIA HAS STRENGHTEN ITS PROMINENT SPOT IN THE SCREEN INDUSTRY WITH THE OPENING OF GRAN CANARIA STUDIOS, A STATE-OF-THE-ART FACILITY THAT WELCOMES INTERNATIONAL PRODUCTION IN A CUTTING-EDGE ENVIRONMENT. RECENTLY, IT HAS LAUNCHED THE VIRTUAL PRODUCION STUDIO XR, A SPACE LOCATED IN INFECAR WHICH HAS ESTABLISHED ITSELF AS ONE OF EUROPE’S LARGEST VIRTUAL PRODUCTION HUBS. FER S. CARRASCOSA

his innovative project, which complements the two existing stages of 1,800 and 1,200 square meters. not only represents a significant step forward for local productions but has also positioned itself as an international benchmark. Powered by the Cabildo of Gran Canaria and partially funded by European Next Generation funds, the Virtual Production Studio XR boasts advanced facilities capable of creating immersive virtual environments. Developed in collaboration with Video Cine Import and ARRI, and using ROE 60

Visual technology, the volume comprises a fixed 40 m x 8 m main horseshoe-shaped wall and two adjustable ceilings (90 sqm and 45 sqm) suspended from variable speed motors, allowing for height and tilt changes. The entire volume is suspended from an innovative internal steel structure designed to hold the volume and prepared for holding lighting. Additional configurations can be achieved through two supplementary 3 m x 5 m mobile LED walls or ‘side wings’,”providing continuity with the main wall or as part of the physical scene set. The design and technology of this studio respond to the growing demand WWW.RUBIK-AUDIOVISUAL.COM

for spaces that provide production quality similar to Hollywood studios, but with the added benefits of Spanish locations and the island’s tax incentives. THE BEAST: A BAPTISM BY FIRE The Virtual Production Studio XR has already hosted its first major production, The Beast, a thriller directed by renowned Finnish filmmaker Renny Harlin, known for action films such as Die Hard 2 (1990), Cliffhanger (1993), and Cutthroat Island (1995). Unified Pictures is the primary production company of the film, which received production service

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Gran Canaria Virtual Production Studio XR

spoke with Adrián Pueyo, visual effects and virtual production supervisor at Orca Studios, involved in the filming of The Beast in Gran Canaria. He reveals the main requirements for this type of filming: “Filming in XR stages with rear projection or dynamic LED lighting requires meticulous planning from pre-production to execution.”

“The technology allowed for fast, seamless changes in virtual environments, encouraging creative exploration and minimizing downtime. Shooting this film on location would have been unfeasible—both in terms of scheduling and complexity” Adrián Pueyo (Orca Studios) from Nostromo Pictures. The film stars Samuel L. Jackson and Joel Kinnaman, and its title refers to the US presidential limousine, nicknamed ‘The Beast’ by the Secret Service. In the film, an unknown militia carries out a coup, and the president must take refuge in ‘The Beast’. The Beast stands as a clear example of the potential this film set brings to the industry. The challenges in this case have been primarily logistical, as, although virtual technology offers multiple advantages, its implementation requires careful planning and adaptation of traditional filming methods. However, once the adaptation process is overcome, the benefits become quickly evident, as the use of XR technology enables the simulation of locations that would be impossible to film on a traditional set, demonstrating its capacity to recreate environments that allow filmmakers to tell their stories with greater creativity and without the limitations of the physical world. To get a better understanding of the virtues of the XR Virtual Studio, RUBIK

He underlines that “it’s essential to perform a prior capture of the content to be displayed on screen (or generate a hyper-realistic 3D scene depending on the methodology) with high-resolution cameras, usually arrays or 360º, which can already constitute a shoot in itself, with its own peculiarities.” Furthermore, he adds, “it’s crucial to ensure precise coordination between the virtual production team, cinematography, art direction, and visual effects to establish an environment consistent with the project’s narrative. Lighting must be adjusted by various departments to perfectly match the projected shots, ensuring a smooth and convincing transition between live action and the virtual environment. And of course, having a highly specialized and experienced team in these technologies is critical to solve all the technical challenges that constantly arise during production.” In these filmings, there’s an expectation from the entire team for a very rapid response in managing the content projected on screen, so it’s fundamental “the immediate WWW.RUBIK-AUDIOVISUAL.COM

availability of the appropriate content and the operability of all involved technologies, at the moment when the shoot demands it.” But of course, this “requires exhaustive coordination and planning.” When questioned about the main challenges posed by this type of filming, Adrián Pueyo is clear: “The main challenges in virtual production shoots include managing visual consistency, both in lighting and in perspective and scale between the projected content and live action. Maintaining this consistency demands continuous interdisciplinary collaboration, especially between the VFX and Virtual Production departments, Cinematography Direction, and Art Direction. He points out that in many productions, a new department is created, called VAD (Virtual Art Department), responsible precisely for this intersection. Another significant challenge is technological management: “Augmented reality technologies are advanced and require specific knowledge, from the technical operation of LED screens to optimizing the performance of graphic engines, which, far from being sufficient, must also be complemented by experience in conventional shoots.” Technical forecasting and planning are also essential to avoid downtime, as “any adjustment in the virtual environment can lead to immediate changes in digital sets, camera adjustments, or even real-time lighting.”

The Beast was an ambitious project that succeeded thanks to the agile collaborative worfklow betwen departments, the technological flexibility of the virtual stage, and the way content for projection was captured and processed in advance Other common challenges include the physical and structural limitations of the studio, whose dimensions or shape may not 61

FEATURES exactly match what your production requires, and this “implies an evaluation phase of the flexibility available to modify the studio, versus your ability to adapt the project to the reality of the studio and its physical limitations.” It can also happen that “the infrastructure isn’t fully ready or known in advance, requiring an additional preparation phase.” In this regard, “having an existing and robust LED panel studio, processors, and specific data centers like the Gran Canaria studio greatly simplifies the process.” Additionally, for much of the crew, “the LED studio continues to represent a new environment where certain processes must adapt,” whether changing the shooting schedule, the team assignment, or specific priorities, so everything is “slightly different” and the entire crew “must be aware of this.” Regarding the work dynamics during the filming of The Beast, Adrián tells us that the shooting of the film was “enormously agile and collaborative.” Constant communication between all involved departments “was by far the most important to achieve success.” The team brought extensive experience in large-scale film productions, and the main creative profiles “fortunately already had experience in shoots in LED environments.” “It was an ambitious project, and the collaborative dynamic allowed us to quickly respond to the hundreds of technical and creative challenges that came up. It boosted operational efficiency and, most importantly,

gave the director a tremendous amount of creative freedom—thanks in part to the technological flexibility of the virtual stage, but even more to how the material for projection was captured and processed in advance, which was designed to leave as much room as possible for creative exploration on set,” explains Pueyo. Specifically, the role of the Virtual Production (VP) supervisor was key, thanks to their comprehensive understanding of all the technical needs, working closely with the directing and VFX teams. “In addition, specialized operators handling the media servers, lighting, and graphics engines— working at what’s known as the ‘brain bar’—were taking real-time instructions, launching digital content and making live adjustments, just like art, special effects, or stunts department would do on a typical shoot. Meanwhile, all the usual departments involved in a large-scale production were working inside the LED volume as if they were on any regular soundstage,” he adds. Finally, Adrián Pueyo also highlights the main benefits that this modern stage provided for the successful execution of the production: “First and foremost, having these studios available made it possible to shoot a largescale international production like this one in Spain—something that would have been extremely difficult otherwise, since the entire film is built around the potential of LED technology.”

Shooting of The Beast in Gran Canaria Virtual Production Studio XR

The facility also includes “the infrastructure needed to support film shoots of any scale—makeup rooms, catering areas, and other essential spaces for productions of this kind.” Overall, the Gran Canaria XR Virtual Production Studio proved to be “a key asset” for The Beast. “The technology allowed for fast, seamless changes in virtual environments, encouraging creative exploration and minimizing downtime. Shooting this film on location would have been completely unfeasible—both in terms of scheduling and the complexity of coordinating indoor and outdoor action, not to mention permits and other logistical challenges. By eliminating the need for physical relocation and largescale logistics to achieve multiple scene configurations, the production was able to focus on the artistic and narrative quality of the project… And the LED screens made it possible to project the exact same environment over and over again, captured at the exact time of day needed, and keep it there indefinitely,” he explains. That’s why there’s no doubt that Gran Canaria Virtual Production Studio XR has the potential to become a cornerstone of virtual production in the future—thanks to a powerful mix of cutting-edge technology, skilled talent, and logistical advantages that position it as a key player in the digital transformation of the screen industry in both the Canary Islands and Spain as a whole.

CARLOS MOLINERO: “THE REAL FEAR IS GETTING AN AI-WRITTEN SCRIPT THAT’S AWFUL, BEING ASKED TO FIX IT, AND GETTING PAID HALF” CARLOS AGUILAR SAMBRICIO

CAA’s next set of film subsidies guidelines will require applicants to declare that their projects were not entirely written using AI in order to qualify for cultural certification and funding.They’ve also acquired software to help detect whether screenplays submitted for scriptwriting grants have been written with the help of AI. Rubik: What’s your take on this new requirement from the ICAA? Carlos Molinero: It’s something we actually suggested when we met with them. We wanted to make sure that anything receiving public funding was genuinely original work—not something spit out by an algorithm. 64

We see this as essential to protecting creative authorship, but also as a way to support producers. Right now, streaming platforms already require writers to confirm they haven’t used AI, because in the U.S., they’ve managed to establish some level of agreement over these tools. So platforms here want those same guarantees. From our perspective, the ICAA’s move is a great step in the right direction. Rubik: It´s supposed to allow ‘ethical use’ of AI. Do you know what that might include? C. M.: I’m not sure how they’ll define it exactly, but I imagine it refers to using AI for research—like a super search engine. That’s very different from using it WWW.RUBIK-AUDIOVISUAL.COM

to write something you’re going to claim authorship of. That’s where the limit is. At ALMA, our stance is clear: these tools shouldn’t be used to write. Writing— the ideas, the structure, the voice—should come from an actual voice. These systems are built on scraping existing scripts and texts, often without permission or compensation. As Noam Chomsky put it, they’re basically advanced plagiarism machines. They rely on absorbing other people’s work and spitting out something ‘new’. Rubik: AI is becoming hard to avoid. How serious of a threat is it to screenwriters? C. M.: Our big worry at ALMA is that what’s already happening in other fields

INTERVIEW

IN SPAIN, THE ICAA (INSTITUTE OF CINEMATOGRAPHY AND AUDIOVISUAL ARTS) HAS ANNOUNCED THAT A NEW REQUIREMENT FOR APPLYING TO FILM PRODUCTION GRANTS WILL INCLUDE A SIGNED STATEMENT CONFIRMING THAT ARTIFICIAL INTELLIGENCE WASN’T USED TO CREATE THE SCRIPT. WE SPOKE WITH CARLOS MOLINERO, PRESIDENT OF THE WRITERS GUILD OF SPAIN (ALMA), TO BETTER UNDERSTAND WHAT THIS MEANS FOR SCREENWRITERS—AND WHY AI IS SUCH A GROWING CONCERN IN THE INDUSTRY.

CARLOS MOLINERO, PRESIDENT OF THE WRITERS GUILD OF SPAIN (ALMA)

is going to hit us too. Look at translators. They used to be paid fairly for their work. Now, they’re handed a sloppy machine translation and told to ‘fix it’. And since the translation is ‘already done’, they’re paid half or less. The same thing could easily happen with screenwriting. A producer could have ChatGPT churn out a horrible, senseless script and then hand it to a writer, saying, “Can you fix this?” But since it’s a ‘rewrite’, you only get paid half. And often, rewriting something bad is harder than writing something good from scratch. That’s the nightmare scenario. Not that AI is creating brilliant, revolutionary art—but that it’s turning creative jobs into cleanup work. These tools aren’t original. They’re just regurgitating bits

and pieces of what’s already out there. We’re not only at risk of losing creativity and originality—we, the actual creative voices, could be reduced to polishing machine-made drafts. And the money we used to earn? That goes to the people who built the AI. It’s absurd. This is a legislative issue. How far can we go to protect authors? That’s what the fight in Europe is about right now. In the U.S., the rules around copyright are different, so they’re having a separate battle. But here, the next few months will be crucial. Rubik: Most conferences around AI tend to celebrate the technology and push the idea that it’s inevitable. What do you think of that mindset? WWW.RUBIK-AUDIOVISUAL.COM

C. M.: It’s like what happens to the body if you stop using your legs—you lose muscle. Like in Wall-E, where people float around in chairs because they’ve stopped walking. Creativity works the same way. Writing, imagining, inventing—that’s mental work, emotional work. It’s about self-discovery and making sense of the world. If you outsource that, you’re not really creating anymore. If a screenwriter says, “I want a machine to write for me,” then they’re not a screenwriter. The beauty of writing is in the process— it’s challenging, but it’s where the meaning lies. These ideas that machines can do it all are aimed at people who don’t actually write, but think they can make money by skipping the hard part. 65

TOUGH TIMES FOR LAUGHTER “I like the way I look, because I’m a good person.” —Adam Sandler IN THIS ARTICLE FOR RUBIK, ROBERTO ALCOVER OTI REFLECTS ON COMEDY AND HOW IT IS ALWAYS SIDELINED AT FILM FESTIVALS LIKE CANNES. AS THE CRITIC POINTS OUT, “HUMOR IS ONLY TAKEN SERIOUSLY WHEN IT TACKLES IMPORTANT SUBJECTS OR IS BUILT ON A SOPHISTICATED AESTHETIC.” ROBERTO ALCOVER OTI

t the last Academy Awards, we witnessed a peculiar moment. It was a sketch featuring comedian Adam Sandler, one of the most iconic—and simultaneously derided—figures in the American film industry. The ceremony’s host, Conan O’Brien, asked the audience to dress appropriately for the occasion. At that moment, the cameras turned to Sandler, dressed in a hoodie and athletic shorts. O’Brien mocked his outfit, prompting Sandler—clearly offended—to storm out, inviting the rest of the attendees to a basketball game. The bit was a metaphor for a popular media star (Sandler himself) within a supposedly “elevated” artistic setting. Sandler played the clown, the fool, scalled upon to embody everything we

dislike about ourselves—invited into public space only to be dismissed while the show goes on. Like Santiago Segura in Spain, first with the Torrente saga and later via the more family-friendly Father There Is Only One franchise, comedians often bear the burden of being loved in private but dismissed in public, as if we must apologize for enjoying their work. But it wasn’t just about Sandler. His appearance at the Oscars also symbolized the broader status of a genre—comedy— within the cultural landscape. A genre both cherished and shunned, rooted in a rich popular tradition but vilified by the cultural elite, as though enjoyment were incompatible with art. This raises the following question: what place does comedy really have on the film festival circuit? A glance at the upcoming WWW.RUBIK-AUDIOVISUAL.COM

Cannes selection reveals only two films that incorporate elements of humor —new offerings from Wes Anderson and Ari Aster. Yet neither filmmaker engages with comedy directly. Anderson uses a highly personal formal architecture that creates a sense of detachment through cuteness, while Aster leans into something more akin to cinematic cruelty, making heavy use of dark humor. For both, comedy serves as a tool rather than a goal in itself. In fact, throughout Cannes’ entire history, no pure comedy has ever won the Palme d’Or. Interestingly, the only recent exceptions involve Swedish director Ruben Östlund, who has won the award twice— with The Square and Triangle of Sadness. Both films deploy comedic devices, but ones more aligned with a form of cruel post-

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humor, where grotesque characters elicit discomfort rather than empathy, prompting a kind of uneasy laughter. As Spanish critic Jordi Costa once said, “post-humor is the failure of comedy’s own methods.” Aside from Östlund—whose films offer “educated” audiences a chance to indulge in sadistic fantasies toward bourgeois structures—comedy is rarely found in top festivals or awards circuits. That’s why it was notable when the Sitges Film Festival recently announced ‘Horror Comedy’ as the theme for its 58th edition, using the claim Reasons to Smile (and Shiver) and referencing filmmakers like Sam Raimi and Joe Dante. Because, as we said earlier, humor is only taken seriously when it tackles important subjects or is built on a sophisticated aesthetic, or has aged long enough to be interpreted intellectually—like Jerry Lewis’s films. It’s clear that comedy has never had a good relationship with major film festivals— Cannes, Venice, Berlin, or San Sebastián. Perhaps that’s why, since Ancient Greece,

tragedy has been linked to grand themes and universal conflicts, while comedy has been pushed to the realm of the mundane and the vulgar.

A glance at the upcoming Cannes selection reveals only two films that incorporate elements of humor. Yet neither filmmaker engages with comedy directly. For both, comedy serves as a tool rather than a goal in itself. It may also be because comedy is often associated with content that is light, accessible, or even coarse—contrasted with the perceived seriousness of drama. But maybe there’s something deeper. As we once wrote, perhaps comedy—like horror— is “the most incorrect genre, capable

of revealing the most despicable parts of ourselves, always masked by a naive smile. A genre that, from early childhood, encourages us to develop harsh class distinctions or depicts conflict resolved through the degradation of others, as seen in unforgettable rivalries like Tom and Jerry or Wile E. Coyote and the Road Runner.”

Comedians often bear the burden of being loved in private but dismissed in public, as if we must apologize for enjoying their work.

Comedy is, at its core, a childlike vehicle—sometimes dressed up as intellectual—used to sublimate violence toward others or oneself. Perhaps that’s why, in the past decade, comedy has faded from the sociocultural zeitgeist. It’s no coincidence that directors like Adam McKay, the Farrelly brothers, or Todd Phillips have stepped away from their comedic roots in search of prestige cinema— having realized that making comedy (or a certain kind of comedy) is a risky bet. Many critics and experts have begun reflecting on how social change is affecting the way we craft and experience comedy. Some point to the impact of “political correctness” on an art form that thrives on irreverence and transgression.

Comedy has faded from the sociocultural zeitgeist. It’s no coincidence that directors like Adam McKay, the Farrelly brothers, or Todd Phillips have stepped away from their comedic roots in search of prestige cinema It’s likely that younger generations— more sensitive to social and equality issues—now believe certain boundaries are necessary. Today, the thin line between being edgy and being offensive

is increasingly blurred, forcing many comedians into a kind of self-censorship. Tied to this is the rise of “cancel culture” and cases like Ricky Gervais or Sarah Silverman, which have made comedy a far more fragile space.

A glance at user reviews on sites like Letterboxd for franchises like The Naked Gun or Torrente shows how social perceptions—and what is acceptable to mock—have shifted. The theoretical frameworks surrounding comedy now

seem closer to Judith Butler than to Chris Farley. Streaming platforms are not immune to this change either. Netflix, for example, has faced harsh criticism over some standup specials and monologues due to their controversial content. From that tension, new voices have emerged—like Australian comedian Hannah Gadsby, who aims to reinvent comedy without relying on outdated tropes. Gadsby has shown that comedy can be insightful, capable of subverting norms without ridiculing others. Perhaps the broader sociocultural changes we’re living through will push us to rethink humor—or even reshape ourselves— to accept that laughter’s real purpose may be to integrate our wounds through playfulness. As Freud once wrote, humor always stands in opposition to suffering—representing a triumph of pleasure. In Jokes and Their Relation to the Unconscious, Freud distinguished between humor based on aggression and humor rooted in self-aware critique. Only time will tell whether we can integrate both. Years ago, Spanish film critic and screenwriter Pablo Vázquez and I co-edited a book about Adam Sandler. In the chapter he wrote, Pablo stated: “The clown is a kind of friendly, pagan exorcist. He banishes our shadows for a few hours, strips away our petty sorrows, but in return, he earns the scorn and condescension of those who forget how to laugh once they leave the theater, the bar, or the darkened screening room.” Comedy—always present but rarely appreciated—is a lot like sex: something that runs through us constantly, yet we’re reluctant to talk about it.