Catalan Animation Set for Landmark 2025
As 2025 unfolds, a wave of ambitious new titles is poised to cement Catalonia's place on the global animation stage. First is 'The Light of Aisha,' a CG-animated adventure set in 11th-century Al-Andalus, which recently debuted in Spain. Directed by rising talent Shadi Adib, 'Aisha' highlights Spain's Arab heritage, blending rich historical detail with an adventurous spirit. 'This is a special project for us,' says Iván Díaz, head of international at Barcelona-based sales company Filmax.
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Díaz emphasized that Filmax's renewed investment in animationreflects both market opportunities and a commitment to stories with 'something unique or distinctive, critical factors when competing against major studios.
Meanwhile, the highly anticipated 'Olivia and the Invisible Earthquake' is gearing up for its main competition debut at the Annecy International Animation Film Festival, the world's most prestigious animation event. Directed by Irene Iborra, the stop-motion film – the first-ever stop-motion feature produced in Catalonia – portrays a young girl coping with family homelessness through imagination and resilience. According to Iborra, the choice of stop-motion helps create a 'safe distance' for young audiences to engage with heavy themes while maintaining a sense of wonder and hope.
Adding to the lineup, 'The Treasure of Barracuda' is set for theatrical release later this year. Based on Llanos Campos' beloved novel, the film follows a young girl, Sparks, who joins a pirate crew in search of hidden treasure. 'Barracuda' has already begun securing international deals.
And set to launch during the 2025 holiday season, 'Hanna's Forgotten Christmas' is a CG-animated adventure directed by Elena Ruiz. This festive tale sees Hanna and her monster friends on a mission to save Christmas after a mischievous gargoyle erases the holiday from everyone's memories.
The momentum behind Catalan animation isn't accidental. Sandra Tapia, executive producer at 'Robot Dreams' backer Arcadia Motion Pictures in Barcelona, attributes the sector's rise to a robust ecosystem built over decades. While talent is the most important factor in building an industry, she argues that nurturing and educating talented individuals is essential.
Producers in Catalonia have tremendous pride in the work being done at educational facilities in the region. The Pompeu Fabra and ESCAC have been churned out loads of talent above and below the line and, crucially, the local government has stepped up with of regional grants from ICEC, the promotional efforts of Catalan Films, and the continued support of local broadcaster TV3.
Still, challenges remain. Tapia points out that Spain's system still lags France in terms of international distribution support, a crucial factor in why French animated films often outperform their Spanish counterparts globally. 'We need help getting to the Oscars, not just celebrating afterward,' Tapia says.
Diaz also stresses caution. While international appetite for animated films is growing, overproduction could flood the market. 'There's a limit,' he warns. 'You have to find your own voice in animation because competing head-to-head with the big studios is almost impossible without it.'
Nevertheless, the foundation for long-term success is stronger than ever. With films like 'The Light of Aisha,' 'Olivia and the Invisible Earthquake,' 'The Treasure of Barracuda' and 'Hanna's Forgotten Christmas' poised to make waves, 2025 promises to be a landmark year for Catalan animation.
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