“Unicorn Wars” by Alberto Vazquez is the frontrunner in the Annecy contest. They Shot the Pianist by Fernando Tropa and Javier Mariscal is one of the festival’s most awaited works in progress.
A swarm of Annecy MIFA unveils Spanish titles, sometimes sneak peek into other events, and are part of the historical growth of Spain’s animation scene.
In the March cartoon, France was the only one with more titles than Spain. At the Animation Forum in September, a show of long-form animation, Spain ranks once again among European countries, in the number of projects to be presented, in collaboration with Ireland.
With an annual turnover of $950 million in 2021, according to the Spanish Trade Promotion Council ICEX, Spain also has first-class animation schools (U-tad, BAU, Lightbox Academy, La Salle, Universidad Politécnica de Valencia…) and specialized events such as Ibero-American Quirino Awards, Valencia Exotic Market, Next Lab Finance & Tech and Lleida’s Animac.
Produced with Netflix by Madrid-based SPA Studios, “Klaus” received an Academy Award nomination. Another Spanish title, “Buñuel in the Labyrinth of the Turtles,” earned Annecy Jury. The first two installments of the animated movie franchise “Tad the Lost Explorer” fell to the top of the box office ratings in many countries outside of Spain.
For most Spanish producers, this animation renaissance is being driven by crucial new government regulations.
In 2020, the increase in tax breaks has propelled Spain to the top position among the destinations that get a lot of attention at the international level. The Mainland offer is a competitive tax deduction of 30% for the first 1 million euros ($1.05 million) of spending and 25% for further expenditures, up to a maximum of 10 million euros ($10.4 million). In the Canary Islands, rebates reached 50% for the first $1.05 million and 45% thereafter, with a cap of $18.7 million.
The new registrations also allow the Spanish state incentives to account for 75% of the total budgets for feature-length animated films.
Other regions in Spain have also strengthened their support. Navarre’s new tax incentive system includes – in addition to specific production assistance – a 40% tax credit. Catalonia has launched a specific funding initiative for animation. Madrid and Barcelona are creating hubs for local animation and visual effects.
Spain’s boom may have been the result of a circumstance or a pandemic stumble. “Live-action producers have turned their sights toward animation, as the sector hasn’t struggled with the difficulties of canceled filming,” says Mago’s Peter Keydel, who will present “The Little Orchestra” at the Cartoon Forum.
“We’ve never had a period like this,” says Chilo Loreiro, producer of “Unicorn Wars” along with Uniko and Autour de Minuit.
But difficulties remain.
Loreiro says it’s very difficult to find some specific artisan classes – master painters, for example – so the salaries of those who are available to work are rising.
Some producers are also urging caution about current trends.
Manuel Cristobal, Executive Producer of Annecy WIP says titled “The Glassworker,” a Pakistani production directed by debutant Usman Riaz.
Another major challenge is intellectual property ownership.
“It is too early to start the celebration. The sector still has structural problems. For example, access to financing and investment. We do not want access to funds to create our IP addresses. [to create content] Jose Luis Farias, Chief Financial and Technical Officer at Next Lab says.
He adds, “We frequently work for companies abroad, but we have to think about exactly what we want. Do we want to become a quality service provider, or produce IP addresses that generate revenue in the future?”
The animation sector in Spain also fears the brain drain. Three leading Spanish directors could direct upcoming international productions without the participation of a Spanish production company, diverse I learned.
For producer and director Carlos Fernandez de Vigo in Dr. Platypus and Ms. Wombat, one outstanding issue is “Updating financing models and revising how they adapt to the changing situation” Fernandez will present at Annecy’s Next Lab partner conference “DinoGames” led by himself and Lorena Aris.
according to diverse Research, eight animated features await release from June 2022 through the first quarter of 2023. Another 26 features are in various stages of development and production. In terms of TV shows, six will be released this year, 26 of which are in development or production.
Government and regional bodies as well as animation studios need to rethink priorities and forge new international partnerships. This may already be happening. Of the eight Spanish projects that will be revealed at the Cartoon Forum, six are co-productions.
unicorn wars
Courtesy of Cartoon Film
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