![]() Miyagi Films co-founder David Matamoros: “ICEC’s commitment to support animation, both series and cinema, tax incentives and talent. Three factors drive the growth in animation, says Mr. In all, five features are completed, including “Tender Metalheads,” which, like “Robot Dreams,” will play Annecy’s Contrechamp in June, while three more are in production, and five in development. Alba Sotorra will present the Robert Wyatt-inspired “Rock Bottom” at Cannes’ Annecy Animation Day. Top Spanish indie distributor A Contracorriente Films is backing buddy movie “The Inseparables” “20,000 Species of Bees” producer Inicia Films is behind “The Treasure of Barracuda,” from animator Adrià García. ![]() It will start production later this year on “Juul,” and will pitch “The Day Ewan McGregor Introduced Me to His Parents” at Annecy in June. Miyagi Films released “Hannah and the Monsters” in late April, and has “Dalia and the Red Book” in post. “Robot Dreams” is produced by Arcadia Motion Pictures, which is behind Rodrigo Sorogoyen’s “The Beasts.” Barcelona-based Mr. ![]() Another growth area is animation, as multiple Catalan companies are moving into that sector. of Women Cinematographers and Audiovisual Media, that reports year-on-year advances for women producers, directors and crew members achieving parity, but it’s currently hovering below 30% and not budging. He cites data, however, from Dones Visuals, the Catalan Assn. “It is true that it is increasingly common to see women behind the cameras without going any further, our last three shorts have been directed by women,” concurs Marc Guanyabens, whose company, Fractal Films, partnered with Croatia’s Antitalent on coming-of-age short “The Real Truth About the Fight,” which world premieres in Cannes’ Critics’ Week. She adds that this has indeed been encouraging to other aspiring female directors although there is still a lot more to be done. ![]() “In past years, many new directors have been women and have had a presence at international festivals, winning awards and receiving recognition,” Martín points out. “‘Creature’ explores the relationship that a 30 -year- old woman has with her sexuality and how it has been built up over the years, within an apparently progressive family,” says Martin. Women direct 17 of 31 Catalan films selected this year by the Festival or Marché or receiving market screenings. That made me partner with different pro- duction companies, which was an opportunity to meet new people and observe different work ethics,” she adds. Working as an independent also “has been a challenge itself since, in Spain, you really need to have a production company in order to produce. Inside the Yellow Cocoon Shell Courtesy of Fasten Filmsįasten has “La Gang,” a co-production with the Dominican Republic, and “Cuatro amores,” with Belgium, in development.īeing a young woman in the film industry has its own set of challenges, says Vilaüt’s Marta Cruañas, who has an MFA in creative producing from Columbia U. “Co-producing gives one the opportunity to work with different talent, crew and working styles and while some things do get lost in translation, it is very rewarding all the same,” says Adrià Monés, CEO-producer of Barcelona-based Fasten Films, a minority co-producer on Pham Thiên An’s debut feature, “Inside the Yellow Cocoon Shell,” with Vietnam’s JK Film, Singapore’s Potocol and associate producer Deuxième Ligne Films of France. ICEC launched a minority co-production fund in 2020. That compares to €12.6 million ($14 million) in 2019. “The obvious pros to co-producing would be cost-sharing and an access to wider audiences,” Dot says, adding: “Co-producing can help reduce production costs for the majority co-producer and this can result in higher-budgeted films, which usually translates into better quality films because a bigger budget usually means more time.”Īs in 2022, allocated audiovisual funding at Catalan culture industry agency ICEC will be just over €41 million ($45.5 million). Its next feature film, Carlos Marqués-Marcet’s “Polvo serán,” filming later this year, is with Switzerland and Italy. “Co-producing is at the core of the European cinema industry and has always had more pros than cons,” says Vilaüt Films’ Ariadna Dot, a producer of Elena Martin’s “Creature,” made with regional partnerships in Spain: here Catalonia’s Lastor Media, Barcelona-based Vilaüt, Avalon in Madrid and Valencia’s Elástica Films (the producers of Berlin Golden Bear winner “Alcarràs”).Īmong Vilaüt’s most recent films, however, “Alcarràs” was co-produced with Italy, “Libertad” with Belgium and “Mediterráneo” with Greece.
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