“Co-production incentives allow us to create a very interesting reciprocity in terms of the global market - we no longer only offer content but we can also receive content and offer financing,” says Valérie Delpierre at Catalonia’s Inicia Films, producer of standout art films such as Carla Simón’s debut, “Summer 1993,” Pilar Palomero’s “Schoolgirls” and “La Maternal.” “There is starting to be a vocation from public institutions to offer Spanish producers more and more variants that make them more competitive when participating in co-production projects,” says José Esteban Alenda at Solita Films. And this quarter, the Canary Islands plan to launch a $1.1 million fund for minority co-productions, with a $161,084 maximum per project, says Canary Islands Film coordinator, Natacha Mora. Regional film production support from the Basque Country, Galicia and Andalusia are also very active. In addition, the Catalan Institute of Cultural Enterprises (ICEC) operates a $1.61 million minority co-production fund whose maximum is also $322,167 per title.

It is foreseeable that ICAA’s minority co-production aid will rise this year, given the agency’s fund has increased 53% to $114.91 million. Of that, a minimum 5% went to support minority co-productions.Īllowing a maximum amount of $322,167 per project, it’s been especially useful when it comes to establishing alliances with Latin America.

ICAA’s selective aid for movie production reached €20 million ($21.48 million). Only last year, Spain co-produced 70 films, beating its average production for the period 2018-2022 of 256 titles, according to Spanish film agency ICAA.

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