Following the global trend of an ever closer convergence of film and TV, the Seville European Film Festival and Fapae, the Spanish producers organisation, are launching the inaugural Spanish Screenings-Sevilla TV, whose first edition takes place Nov. 9-11 in Seville.
The new TV event forms part of the Seville Film Festival, whose highlights include the announcement, on Saturday Nov. 5, of the nominations for the European Film Awards.
In its 13th edition, the Seville Film Festival pays tribute to French actor Vincent Lindon, actress-directress Valeria Bruni Tedeschi and Spanish designer Paco Delgado. It opens with Stephane Brize’s Venice Fipresci Awardee “A Woman’s Life,” toplining actress Judith Chemla, who will attend the opening gala.
Originated by Fape, the Spanish Screenings-Sevilla TV represent the only market in Spain for the international promotion and sales of Spanish TV contents.
The event will welcome some fifty TV executives from 15 countries, representing TV congloms such as Brazilian broadcaster Globo, Mediaset and Sky in Italy and M6 in France.
Further international TV operators attending include Mexico’s Canal 22, Croatia’s Hrvatska Radiotelevizija, Hungary’s RTL, Peru’s Frecuencia Latina, Poland’s Telewizja Polska, Cesk TV from Czech Republic, and Ecuavisa from Ecuador.
High profile Spanish players at Sevilla TV encompass nationwide pubcaster RTVE and the DeAPlaneta-controlled giant commercial TV network Atresmedia. Filmax Group, Secuoya Group, Imira Ent. and Motion Pictures will also be represented at the event.
Among the Spanish regions, Andalusia boast the strongest market presence, with more than 30 companies on hand, led by pubcaster Canal Sur, a driving force of the Andalusian film and TV industry.
Sevilla TV sales office will be located in the Hesperia Hotel, where buyers will also have access to an online video library. Cinesur Nervion will host exclusive screenings of TV programs by Atresmedia, RTVE and Canal Sur.
The TV screenings will also offer round tables to debate, for example, synergies between film and TV sectors, as well as case studies about international TV fiction co-productions such as “The Refugees,” a primetime drama produced by Spain’s Bambu for Atresmedia in partnership with BBC Worldwide.
Aimed to highlight Spanish series and TV formats with a larger international impact, Fapae has also launched in Sevilla TV the Fapae Awards.
“Film and TV can’t be treated separately because the industry as a whole is audiovisual, although film and TV buyers often work separately,” said Fapae prexy Ramon Colom.
“Hence, the current need for two distinct markets: the Spanish Film Screenings in Malaga, in March 2017, and the Spanish TV Screenings in Seville. But in the future, we may have a single market,” he added.
Sevilla TV is born in the shadow of the Seville European Film Festival – “a contest in clear progression,” in Colom words. “This can be positive for both initiatives, our aim is to grow together,” he said.
After 12 editions, the Seville European Film Festival has become not only a hub for European film productions but also a launchpad for alternative movies by young Spanish talents. In 2016, the festival will present a 27 world premieres, a record.
Spanish films dominate the programming of the 13th SEFF, with 67 productions selected, 30% of total titles. Of them, 33 come from Andalusia.
“The new Spanish indie cinema has found its place in Seville in recent years,” said SEFF director Jose Luis Cienfuegos.
Cannes Critics’ Week Grand Prize winner “Mimosas,” by Oliver Laxe, and Albert Serra’s Spain-France-Portugal co-production “The Death of Luis XIV” will screen as part of the Official Section.
The New Waves and New Waves/Non-Fiction sections boast a large number of Spanish directors in competition.
Produced by Seville-based La Claqueta, war reporter Hernan Zin’s “Nacido en Siria,” which follows the footsteps of Syrian refugees, world premieres in New Waves/Non Fiction, where Ramon Lluis Bande, the Fipresci Award winner at SEFF 2014 with “Equi y n’outro tiempu,” presents “Vida vaquera,” a portrait of the cowboys of the mountains of Northern Spain.
Daniel Macián’s “La mano invisible,” a film adaptation of Isaac Rosa’s same-titled novel, a caustic fable on Spain’s labor market, competes in New Waves, alongside Enrique Baro’s “La pelicula de nuestra vida,” about a summer house with home movies and music; also in new Waves are the newest films by more established directors Ado Arrietta (“Belle Durmant”) and Pablo Llorca (“Dias color naranja”), a regular at the SEFF.
The competitive section Resistances, now in its fourth year, supports Spanish cinema that bucks trends. This year, the section contains 18 titles, most of them world premiering in Seville, such as Gabriel Velazquez and Blanca Torres’ mockumentary “Analisis de sangre azul,” about the films made by Dr. Pedro Martinez, who in the 1930s ran a psychiatric sanatorium in the Pyrenees.
“There is a less commercial, riskier European cinema we must defend at the festivals,” Cienfuegos said.
“These films don’t need a theatrical release, are programmed on alternative circuits, where they can have a very long run, screening for over a year, which doesn’t happen with commercial cinema,” added.
“New indie films are often handled by recently set-up companies that have lost the fear of defending new auteurs. That said, we maintain a close relationship with established arthouse distributors such as Golem, A Contracorriente or Avalon in Spain or MK2, Match Factory, Films Boutique and Les Films du Losange in Europe,” Cienfuegos said.
The 13th Seville European Film Festival runs Nov. 4-12.
John Hopewell contributed to this article.
“American Honey,” (Andrea Arnold, U.K, U.S.)
“Love and Friendship,” (Whit Stillman, Ireland, U.K., France)
“Godless,” (Ralitza Petrova, Bulgaria, Denmark, France)
“Heartstone,” (Guðmundur Arnar Guðmundsson, Iceland)
“It’s Not The Time of my Life,” (Szabolcs Hajdu, Hungary)
“Le Fils de Joseph,” (Eugène Green, France, Belgium)
“Ma Loute,” (Bruno Dumont, France)
“Malgré La Nuit,” (Philippe Grandrieux, France)
“Mimosas,” (Oliver Laxe, Spain, Morocco, France, Qatar)
“Mister Universo,” (Tizza Covi, Rainer Frimmel, Austria, Italy)
“Personal Shopper,” (Olivier Assayas, France)
“Safari,” (Ulrich Seidl, Austria)
“It’s Only the End of the World,” (Xavier Dolan, Canada, France)
“Staying Vertical,” (Alain Guiraudie, France)
“Une Vie,” (Stéphane Brizé, France, Belgium)
“United States of Love,” (Tomasz Wasilewski, Poland, Sweden)
OUT OF COMPETITION
“The Death of Luis XIV,” (Albert Serra, France, Spain, Portugal)
“La Prunelle de Mes Yeux,” (Axelle Ropert, France)
“Le Cancre,” (Paul Vecchiali, France)
“Liberami,” (Federica Di Giacomo, Italy, France)
“Scarred Hearts,” (Radu Jude, Romania, Germany)
“Albüm,” (Mehmet Can Mertoglu, Turkey, France, Romania)
“All These Sleepless Nights,” (Michal Marczak, Poland, U.K.)
“Austerlitz,” (Sergei Loznitsa, Germany)
“Belle Dormant,” (Ado Arrietta, France)
“Correspondências,” (Rita Azevedo Gomes, Portugal, France)
“Daydreams,” “Caroline Deruas, France)
“Orange Coloured Days,” (Pablo Llorca, Spain)
“Dogs,” (Bogdan Mirica, Romania, France, Bulgaria, Qatar)
“El Dorado XXI,” (Salomé Lamas, Portugal, France)
“Exile,” (Rithy Panh, Cambodia, France)
“Fiore,” (Claudio Giovannesi, Italy, France)
“Hitza Egin (Faire la Parole),” (Eugène Green, France)
“Homo Sapiens,” (Nikolaus Geyrhalter, Austria, Germany, Switzerland)
“I, Olga Hepnarova,” (Petr Kazda, Tomas Weinreb, Czech Republic, Slovakia, Poland)
“In Bed With Victoria,” (Justine Triet, France)
“La mano invisible,” (David Macián, Spain)
“La película de nuestra vida,” (Enrique Baró, Spain)
“Le Parc,” (Damien Manivel, France)
“Nacido en Siria,” (Hernán Zin, Spain)
“Paradise! Paradise!,” (Kurdwin Ayub, Austria)
“The Challenge,” (Yuri Ancarani, Italy, France, Switzerland)
“The Dreamed Ones,” (Ruth Beckermann, Austria)
“The Dreamed Path,” (Angela Schanelec, Germany)
“The Student,” (Kirill Serebrennikov, Russia)
“The Sun, the Sun Blinded me,” (Anka Sasnal, Wilhelm Sasnal, Poland, Switzerland)
“Vida vaquera,” (Ramón Lluís Bande, Spain)
“Voir du Pays,” (Delphine & Muriel Coulin, France, Greece)
“We’ll be Alright,” (Alexander Kuznetsov, France)
“What Means Something,” (Ben Rivers, U.K.)
“Wrong Elements,” (Jonathan Littell, France)