Basque cinema strikes above its weight in San Sebastián, with 75% of Spanish competition titles entirely or partially Basque, stressing how regional industries, formerly considered peripheral, increasingly shape the national landscape of the Spanish film. Two flagship products – José Mari Goenaga and “Maspalomas” by Ator Aregi and “Karmele” by Asier Altuna – illustrate the strategies of their producers, Xabi Berzosa and Marian Fernández Pascal, while Basque production is growing.
A 100% Basque production, “Maspalomas” dramatizes a late end of life, then in retirement, located between the gay scene of Gran Canaria and a nursing home in San Sebastián. “I went to Maspalomas for the first time in 2016, and I thought it was a reality rarely seen in cinema,” said Goenaga Variety. “We have seen films on the people who are going out. But not on someone who decides to return inside,” added Arregi.
For Berzosa, producer at Irusoin and founding partner at Moriarti Produkzioak, the creative ambition required a bet: filming on 35 mm. “Sometimes it doesn’t make sense, but here,” he said. “When you shoot 35 mm and say” the turnover of the camera “, everyone is 100%concentrated. With digital, it is easier to be less focused on the laser. The film creates a different atmosphere, and we wanted it for this project.”
The coils have almost disappeared in transit of the Canary Islands in Madrid, but the risk, he argued, has borne fruit in intimacy. The funding was entirely Basque, although it increases its shoulders on symbolism: “If A24 produced something in the Basque, I would always say that it is a Basque film. The key element is language and culture. ”
If “Maspalomas” turns to the intimate, the “Karmele” of Altuna is a historic epic in the Basque language, adapted from the novel by Kirmen uribe “The Hour of Waking Together”. Extending over several decades of 1937 France, Venezuela and the Basque Country, he tells exiled artists and a love story forged in the diaspora. “The book was so huge that you could make a series of 12 episodes,” said Fernández Pascal. “The challenge was to say it in less than two hours, on decades and continents, with a limited budget. But I think that the public will always feel emotional and geographic journey.”
Initially planned as a broader international co -production, “Karmele” was reduced after Covid. “We realized that we could make the film without traveling so far,” said Fernández Pascal. “In the end, Basque television, Spanish public television, the Basque government and tax incentives were decisive.” For her, working in the Basque is natural: “Maybe people from the outside ask” Why in the Basque? ” But for us, why not?
The San Sebastián range reflects the sector range. Alongside “Maspalomas” and “Karmele”, the Basque presence also welcomes the “sundays” of the Spanish language of Alauda Ruiz de Azúa, co-protected by Movistar Plus +, as well as Buenapinta Media, Colosé Productcionees, Sayaka Productciones and Encanta Films. He met a warm reception on Monday at a press conference.
Other official selection titles are “Los Tigres” by Alberto Rodríguez, another feature film Movistar Plus +, co -produced by Kowalski Films; And “She Walks in Darkness” by Agustín Díaz Yanes, an original from Netflix produced by Jabayona via the Basque -based production company, Basoilaroren Filmak specifically created for the film.
“I am more interested in co -productions than ever, even as a minority partner,” said Fernández Pascal. “The industry changes so quickly. We must remain flexible. “
This change was at least two decades in preparation. “20 years ago, Spanish industry was absolutely focused on Madrid,” noted Berzosa. “Now it’s much more balanced, and it’s healthy. It keeps talent in different regions, allows each field to develop independently and brings new directors to the system. ” Fernández Pascal added: “Now we have technicians, production companies, directors and screenwriters with ideas and financial partners determined to support Basque language work.”
Growth has attracted external partners – Tornasol, Buendía Estudios, a slide among them – while Netflix continues to invest in the originals. Local hubs like Tabakalera and Eqze form a new generation, expanding the talent swimming pool. The region is not defined by a genre but much, not by a generation but several, and not by close collaborations but vast.
However, the two producers strike a note of prudence. “We share the same fears as Hollywood producers,” warned Berzosa. “How society is changing, how we could lose the experience of municipal cinema. Everyone is talking about the success of streaming. But we are not talking about how to keep the whole ecosystem alive. For me, it must start with cinemas.” Fernández Pascal agreed: “Another crisis will come. But we have survived before, and we will adapt.” With ambitious epics and intimate dramas side by side, Basque cinema never looks stronger. For all the momentum, uncertainty remains. It is an exceptional year, on an always jackpot.
