Spain’s presence at this year’s Berlin International Film Festival (Berlinale) and the European Film Market (EFM) was nothing short of remarkable, especially within the Co-Production Market. As Variety highlighted, the country’s diverse and dynamic cinematic offerings showcased the creative depth and social consciousness of its emerging filmmakers. Among the 35 feature film projects from 27 countries participating in the Co-Production Market, Spain stood out with a handful of compelling titles that not only reflected the nation’s storytelling traditions but also explored fresh perspectives and global collaborations. These films, each unique in their narratives, shared a common thread: a strong focus on social issues, a hallmark of contemporary Spanish cinema.
One of the standout projects at the EFM was “Konbini,” a Spanish-Japanese co-production directed by Pedro Collantes and written alongside Tomoe Kanno and Sayaka Akitsu. This tender yet poignant film tells the story of Kisayo, a sound artist working late shifts at a Tokyo convenience store. One fateful night, he intervenes when an elderly man deliberately tries to get caught stealing, sparking an unexpected bond between two lives seemingly worlds apart. Still in its early stages of development, “Konbini” has already garnered significant attention, thanks to its universal themes of human connection and empathy. Backed by the Spanish Film Institute (ICAA) and Japan’s Tsutaya Programme, the project represents a rare and exciting international collaboration. For Collantes, the film is more than just a narrative—it’s a reflection of harsh realities told with tenderness, making it a standout example of how Spanish cinema is embracing global storytelling.
Another compelling project featured at the Co-Production Market was “Girl, Don’t Play” (“Niña, no juegues”), directed by Ainhoa Rodríguez. Set in a roadside hostel-restaurant in Extremadura, the film centers on María, a six-year-old girl who begins to question her mother’s mysterious behavior after a sinister encounter forces them to flee. As secrets unravel, María must confront the truth about her mother’s nature—and her own. Co-produced by Les Films du Worso and Tentación Cabiria, this horror film delves into the myth of the “female monster,” exploring maternal bonds and the tension between identity and societal expectations. What makes “Girl, Don’t Play” particularly intriguing is its subversion of cinematic traditions, blending horror with a child’s perspective to create a fresh and chilling narrative. Rodríguez’s bold approach to storytelling not only highlights her unique voice but also reflects the innovative spirit of Spain’s new generation of filmmakers.
For those seeking a more personal and intimate story, “March 14th” (“Catorce de Marzo”), directed by Alberto Gross Molo and co-written with Tomàs Bayo Encontra, offers a heartfelt exploration of family, love, and loss. The film follows Héctor (11) and his younger sister Gema (6) as they face the final 24 hours before their parents’ divorce trial. With the weight of their future on their shoulders, Héctor fears that their differing answers about which parent to live with might tear them apart. Produced by Contraria Media, Ayhe Productions, and Solita Films, “March 14th” has already gained recognition, winning the €10,000 Talent Project Market Award for Best New Project. The film’s emotional depth lies in its nuanced portrayal of sibling love and the pain caused by familial conflicts. As Contraria Media’s Laura Egidos notes, the film transcends the divorce theme to speak about the enduring bonds of family and the resilience of love.
The sheer diversity of Spanish cinema was further evident in “Men and Days” (“Els homes i els dies”), directed by Arnau Vilaró, who previously gained acclaim for his work on “Alcarràs.” Inspired by the life of the late Hispanic Studies scholar David Vilaseca, the film is set in 1992 Barcelona and follows Vilaseca’s return from London after completing his PhD and enduring a toxic breakup. Against the backdrop of Olympic fever and the AIDS crisis, Vilaseca begins a diary documenting love between men, a work that would later earn him acclaim. Produced by Nanouk Films, Local Films, and Lluís Miñarro, and supported by ICEC, Creative Europe Media, and 3CAT, the film offers a fresh take on identity, LGBTQ+ struggles, and pre-Olympic Barcelona. Its portrayal of Vilaseca’s journey not only sheds light on an underexplored chapter of Spanish history but also celebrates the power of storytelling to transcend time and circumstance.
Finally, “Death in Torrevieja” (“Muerte en Torrevieja”), directed by Adriana Arratia and co-written with Marina Figueras and Pilar Romina, brought a gripping blend of drama and mystery to the Co-Production Market. Set in the sweltering summer of a tourist resort town, the film follows Chetia
