Elena López Riera - celebsbar.com

John Hopewell Chief International CorrespondentBuenos Aires-based Maravilla Cine, producer of 2018 Berlin Panorama player “Marilyn” and San Sebastian 2020 New Directors’ hit “That Weekend,” has boarded “Diamond” (“Diamante”), the first fiction feature from Bolivia’s Yashira Jordán which is shaping up as one of the standout titles at this year’s Locarno Open Doors.Maravilla Cine joins “Diamond” lead producer Empatia Cinema, rapidly consolidating as a production hub for Bolivian auteurs. Recent credits include Martín Boulocq’s “The Visitor” which premiered at June’s Tribeca Festival and Alejandro Quiroga’s Western “Los de abajo,” a Sanfic Industria pix-in-post winner in March 2021.Empatia Cinema and Maravilla Cine have jointly applied for a development grant from the Ibermedia regional film fund for Latin America, Spain and Portugal.

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Festival In Focus: Why Female Directors & Producers Are Leading The Charge For A New Wave Of Spanish Cinema

Spanish cinema has undoubtedly been making a strong imprint on the international film festival circuit throughout the last few years and, crucially, there’s a new wave of female filmmakers that are driving this charge.

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Is Spanish Film Having a Moment?

Callum McLennan Recently, there has been a consistent tide of well crafted and highly regarded films coming out of Spain. “Alcarràs,” “The Beasts,” “Lullaby,” “La Maternal,” “Prison 77,” to name just the five that the Spanish Academy Goyas singled out in early February. This level of quality, over a short period, is getting noticed internationally. Last week the Glasgow Film Festival, Scotland’s largest, shone a light on eight films in its Viva el Cine Español program. A cultural moment is a strange beast, hard to fathom, but there are strong signals that Spanish Film is having one. In addition to the aforementioned five, Glasgow added Andrea Bagney’s debut “Ramona,” “Wild Flowers,” from Jaime Rosales, another debut with Elena López Riera’s “The Water,” and a Penelope Cruz starrer, in Juan Diego Botto’s “On The Fringe.”

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Spanish Film Biz Embraces Co-Productions

Emiliano De Pablos Spain’s Cannes presence this year offers testimony to its developing co-production scene, as well as economic concerns driving the search for international partners and the ambitions of a highly cosmopolitan generation of cineastes that is driving art cinema production in Spain.Four Spanish features have made this year’s Cannes cut: Albert Serra’s competition entry “Pacifiction”; Rodrigo Sorogoyen’s “The Beasts,” in Premiere; José Luis López Linares’ Cannes Classics title “Goya, Carriere and the Ghost of Buñuel”; and Directors’ Fortnight contender “El Agua,” by Elena López Riera.All four are international co-productions. Also at Cannes, a Spanish Producers Network showcase, backed by ICEX Trade and Investment and ICAA Film Institute, will highlight eight potential overseas co-production projects.

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Madrid’s ECAM Incubator Selects ‘Last Night I Conquered the City of Thebes,’ ‘Disposable,’ ‘Macrame’ (EXCLUSIVE)

Emilio Mayorga Rapidly emerging as one of Spain’s foremost hothouses for new producer and creative talent, the ECAM Madrid Film School’s Incubator program has chosen five titles for its 2022 program:“Last Night I Conquered the City of Thebes,” “Disposable,” “Macrame,” “Festina Lente” and “Ripli.”Launched to connect early career talent in Spain with Europe’s film industry, the 5th Incubator runs from Feb. 23 through July.The program will be overseen by writer-director Rafa Alberola, who serves as the new manager of The Screen, ECAM’s industry initiative umbrella.This year’s lineup announcements comes as one Incubator project, Alauda Ruiz de Azúa’s “Lullaby,” is set to world premiere in Berlin’s Panorama section later this week.

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