Spanish Titles at This Year's Marché du Film
'Away,' Gerard Oms
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Produced by Zabriskie Films (Spain) and Revolver Amsterdam (Netherlands), 'Away' is a Spanish-Dutch co-production shot entirely in the Netherlands. It employs a naturalistic and neorealist tone to portray the story of a Spanish immigrant adrift in Northern Europe. The film stars Spanish A-lister Mario Casas.
Sales: Latido Films
'Deaf,' Eva Libertad
Berlin's Panorama Audience Awardwinner 'Deaf,' produced by Distinto Films, Nexus CreaFilms and A Contracorriente Films, addresses motherhood through the lens of the deaf community. It is one of the first Spanish features to fully center the experience of a deaf woman, starring Álvaro Cervantes and Libertad's sister Miriam Garlo. The film promotes accessibility in its storytelling and production choices.
Sales: Latido Films
'The Footballest: The Pirate's Treasure Mystery,' Miguel Ángel Lamata
Produced by Chester Media Producciones, Wandermoon, Misterio Pirata AIE and Take One, this live-action feature is adapted from a best-selling children's book series. It was developed as a major family entertainment property targeting both Spanish-speaking and international markets, with a vibrant ensemble cast led by Joaquín Reyes and Arturo Valls.
Sales: Filmax
'Gaua (The Night),' Paul Urkijo
Produced by Irusoin, Ikusgarri Films and Vilaüt Films, with Gaua AIE, this Basque fantasy-horror film uses rural mythological elements to evoke the 17th-century witch trials. Paul Urkijo, acclaimed for 'Errementari' and 'Irati,' once again crafts a uniquely regional cinematic universe combining folklore and psychological terror.
Sales: Filmax
'The Gentleman,' Luis Gabriel Beristáin
Produced by Esto También Pasará and SDB Films, this Spanish-Mexican co-production features 'Hellboy' actor Ron Perlman. Shot between Spain and Latin America, 'The Gentleman' combines noir influences with modern-day social commentary, focusing on the emotional toll of violence and loss.
Sales: Film Factory
'God Sees It' ('Dios lo ve'), Alex Guimerà and Guillem Ventura
A feature documentary produced by a consortium of Spanish cultural institutions and production houses, including support from RTVE and 3CAT. God Sees It profiles the provocative, cross-disciplinary career of Oscar Tusquets Blanca, blending interviews with major Spanish creatives like Salvador Dalí and Antonio López.
Sales: Feel Sales
'The Harvester' ('Sacamantecas'), David Pérez Sañudo
Produced by La Claqueta and Amania Films, 'The Harvester' is a period thriller inspired by historical true crime. Set in the 1870s, the production recreated the city of Vitoria's old quarters with meticulous attention to historical accuracy, featuring Antonio de la Torre in a major starring role.
Sales: Latido Films
'Lionel,' Carlos Saiz
A Spanish-French co-production led by Bluconic Films, Blur, Icónica and Promenades Films. 'Lionel' is an intimate road movie shot across Spain and France. Its minimalist production mirrors the emotional distance of the father-son journey, and it benefited from support by ICAA (Spain) and the CNC (France).
Sales: Sideral
'Our Father, Our President,' Manuel Huerga
This Spanish political drama, centered on Jordi Pujol's scandal, combines dramatic reconstructions with historical context. It is produced by Last Minute AIE, Minoria Absoluta, Vilaüt Films and Lastor Media. The project involved extensive research and close collaboration with Catalan historians to ensure authenticity.
Sales: Filmax
'The Portuguese House,' Avelina Prat
An intimate drama produced by Distinto Films (Spain), O Som e a Fúria (Portugal) and Jaibo Films (Spain). 'The Portuguese House' was shot largely on location in rural Portugal, highlighting local landscapes and architecture. The project received support from Spain's ICAA and Portugal's ICA.
Sales: Bendita Film Sales
'The Redemption,' Daniel Guzmán
Filmed in Madrid and opening the Malaga Festival, 'The Redemption' reflects the housing crisis that has affected many Spanish inner cities, one of the most popular topics of conversation in Spain today. The film's semi-documentary style captures the gritty reality of economic dislocation. The feature is produced by El Niño Producciones, Aquí y Allí Films, La Mirada Oblicua and Romania's Avanpost.
Sales: Film Factory
'The Talent,' Polo Menárguez
Produced by the Mediapro Studio and Reposado, 'The Talent' offers a sharp social critique wrapped in a coming-of-age drama. The film combines veteran talent with rising Spanish stars like 'Élite' standout Ester Expósito, aiming at both a youth and prestige audience. 'TheGood Boss' director Fernando León de Aranoa serves as co-screenwriter and producer.
Sales: Film Factory
'Los Tigres,' Alberto Rodríguez
One of the most ambitious films coming from Spain this year, backed by Movistar Plus+, Kowalski Films, Feelgood Media, Le Pacte and Mazagón Films AIE, 'Los Tigres' is set on theAndalusian coast. Shot often underwater, it uses specialized diving cinematography to tell a story of familial loyalty and crime amid the economic collapse of traditional industries.
Sales: Film Factory
'The Van' ('La Furgo'), Eloy Calvo Campos
'The Van,' a live-action departure from the traditionally animation-focused studio Teidees Audiovisuals, tells a father-daughter survival story on the outskirts of Barcelona. The film was independently financed and shot using a stripped-down, verité style.
Sales: Sideral
'Who Wants to Marry an Astronaut?' David Matamoros
This romantic comedy was shot across the U.S. and Spain and leverages a strong Latin American co-production structure to broaden its reach across different territories. Companies included in the multi-territory production include Mr. Miyagi Films (Spain), Mother Superior (Uruguay) and Sombracine (Argentina). The film has scored upbeat sales already.
Sales: Feel Sales
'The 47,' Marcel Barrena
Produced by The Mediapro Studio, 'The 47' became the highest-grossing Catalan-language film in over 40 years. A story about urban transport reform, it used historical recreations of 1970s Barcelona and received multiple Goya nominations, and shared a best picture win.
Sales: The Mediapro Studio
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This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Fellowship and its sequels became a template for what Hollywood success would look like over the next two decades. It showed executives that people were eager to see expensive, high-production value adaptations of intellectual property they already knew and loved, and that they would pay well for the privilege. It showed that audiences were willing to put up with a certain amount of lore — even labyrinthine lore — in exchange for high-stakes battles with a little artful CGI to make them look all the more epic. But Fellowship had a special resonance with its audience because of the moment in which it came out: a mere three months after September 11, 2001. It met an American audience ready and eager to throw themselves into the story of an epic battle between good and evil — one that good was definitely going to win. The parallels felt almost too good to be true. 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We, too, could be Aragorn, heroic and brave and good — and we could make our nemesis into Sauron, too evil even to have a face.
