Laying the Foundation: How Catalonia Is Building a Global Animation Powerhouse
Now, in 2025, the Catalan animation industry stands at a pivotal moment. With a wave of exciting new titles like 'Olivia and the Invisible Earthquake,' 'The Light of Aisha' and 'The Treasure of Barracuda,' and a robust ecosystem of institutions and talent behind them, this momentum no longer feels like a fluke; it feels like a movement.
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Ahead of this year's Annecy Animation Festival, Variety spoke with the producers who are making waves in the region to better understand what's behind this creative boom and what challenges remain. Their insights reveal a sector rich in talent, grounded in community, and reaching for global influence.
Public Support: The Cornerstone of Catalonia's Animation Boom
Nearly everyone in the industry agrees: without consistent public investment, Catalan animation would not be where it is today.
'One of the key factors has been the strong public support for animated features from institutions like ICEC and ICAA,' says filmmaker and producer Alba Sotorra, referring to the Catalan government's film-TV agency and the Spanish film agency. She is currently developing the eco-fable 'Pink Punk Delta,' which will be presented at this year's MIFA Feature Pitches at Annecy. 'Their funding has made it possible for producers to take creative risks and develop ambitious projects'.
Mikel Mas, producer of Annecy competition player 'Olivia and the Invisible Earthquake' – the first ever Catalan stop-motion feature – concurs. 'There's been a real push from the administration. ICEC, especially, has made a strong commitment to animation, both in series and feature films. That's what's made this moment possible.'
This public investment isn't just symbolic. The creation of a dedicated animation funding line in 2017 allowed ICEC to finance hours of animated content each year, strengthening an industry that had once struggled to sustain itself.
Education and Talent Development: A Pipeline of Excellence
Talent has never been in short supply in Catalonia, but now, thanks to its educational infrastructure, it is more visible and employable than ever.
Sotorra highlights the region's world-class institutions: 'Catalonia is home to some of the most respected schools in Spain and Europe, L'Idem, La Salle and master's programs at ESCAC and Pompeu Fabra. These schools are constantly training great professionals who feed directly into the local industry'.
Marta Alonso, executive producer at Teidees and co-producer of the upcoming series 'Under the Sofa,' which the company will be sharing with distributors at this year's Annecy MIFA amrket, sees this as a core pillar of industry growth. 'There's always been talent, but now that talent is more visible because it's being nurtured. If we give people the opportunity to work and grow, the whole sector benefits'.
Adding to this are grassroots institutions like Pepe School Land, which focuses on training with open-source software like Blender, lowering barriers to entry and encouraging diverse voices to join the field.
International Co-Productions: A Strategic Imperative
In today's global animation economy, few independent projects can be produced within a single territory. For Catalan producers, international co-productions are not only an advantage but a necessity.
Peekaboo Animation's Iván Agenjo, who will be at this year's MIFA with his company's 2D series projects 'My Little Heroes,' 'WAW Resort' and 'BFFS!,' among other ambitious proposals, breaks it down: 'It's almost impossible to finance a project exclusively with funds from Catalonia or Spain. We always look for international partners, it's part of our DNA.'
For Anna Shchur of Siesta Entertainment, whose current project 'Black Moth' is animated in Armenia with creative leadership in the U.S., this strategy is about quality and survival. 'Producing entirely in Catalonia is possible, but it's much more expensive. Co-producing gives us access to different markets, funding systems and talent pipelines.' Siesta will be showing off 'Black Moth' and its 2D kids' series 'Biggie and the Magic Bag' at this year's MIFA.
However, co-production also comes with its own complexities. Alonso compares finding the right partner to 'finding the right person to marry… when it works, it's a miracle. When it doesn't, it's a nightmare.'
Despite the challenges, these partnerships are crucial for accessing foreign markets. As Shchur notes, 'If you want to distribute in Canada or France, you often need to produce there. Co-production opens that door.'
Grounded Storytelling with Global Appeal
What truly sets Catalan films apart from the pack is not big-budget aesthetics or groundbreaking technological advances; it's a motivated base of talented and uniquely experienced artists using their craft to tell stories rooted in lived experience and featuring cultural authenticity.
'We have a creative mix that's very special here,' says Sotorra. 'Many animated films are made by directors who come from documentary or live-action backgrounds. They bring a different sensibility, grounded stories, emotional depth.'
Mas sees this as a defining strength of 'Olivia,' which deals with childhood homelessness through stop-motion. 'The film speaks to a social issue, but in a way that's accessible to children. That balance, between the heavy and the hopeful, is what makes it powerful'.
Agenjo notes that projects must walk a fine line: 'They can be rooted in local culture, but they have to resonate internationally. That's how we attract partners and distributors abroad.'
Even commercial projects are incorporating more meaningful themes. Shchur's 'Black Moth' focuses on female empowerment and music as a means of identity-building. 'It's high-quality, and the narrative is strong,' she says. 'It's not just content, it's storytelling with purpose'.
Distribution: The Lingering Weak Link
For all its strengths, Catalan animation still faces significant hurdles in distribution, especially at home. 'It's actually harder to distribute in Spain than it is abroad,' Shchur admits.
Alonso notes a discrepancy in support during and after production has wrapped: 'We need money not just to make the films, but to get them out into the world. Distribution is where we're lagging behind countries like France'.
Mas adds that public broadcasters like RTVE and TV3 could be doing more: 'These are public institutions, they should be helping get culturally valuable films in front of more people. When a commercial film like 'Tadeo Jones' ('Tad the Lost Explorer') premieres, it's everywhere. Our films should get that kind of push, too.'
There is hope, however. Initiatives like Eurimages and select E.U. distribution grants are beginning to make an impact. But as Mas argues, 'There's a double standard in animation. People expect us to get into Cannes and win awards, but also sell popcorn like Hollywood. We need to recognize both cultural and commercial success.'
Looking Ahead
With several major projects rolling out in 2025, including 'The Light of Aisha,' 'The Treasure of Barracuda,' and 'Hanna's Forgotten Christmas,' Catalan animation is poised to extend its winning streak. But sustaining this momentum will require more than creative excellence. It demands sustained public investment, better distribution strategies and a continued focus on international collaboration.
'If we maintain the key pillars: public funding, high-level education, international reach and authorial voice, Catalan animation can become a global reference for auteur animation,' says Sotorra.
In short, Catalonia's animation industry isn't experiencing a bubble, but the laying of a foundation. And if nurtured properly, Catalonia may soon become one of the world's leading centers for animated storytelling.
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