Valls already has 14 producer or exec-producer credits, including Eugenio Mira’s “Grand Piano,” Fernando González Molina’s Spanish blockbuster “Palm Trees in the Snow,” and Dan Krauss’ “The Kill Team;” all alongside her partner Adrián Guerra at Nostromo. Her latest productions include Alex and David Pastor’s “The Occupant” and Molina’s “Offering to the Storm,” both acquired by Netflix. Valls will shortly resume shooting on “Los favoritos de Midas,” created by Mateo Gil, her first TV series. “I’d like to do exactly what we’ve done so far: Making all kinds of movies we’d like to watch, not only genre.”
Maymó participated in the production of Rodrigo Cortés’ “Buried,” Marcel Barrena’s “Little World” and Pau Freixas’ TV-series “The Red Band Society” among many other titles. Now based out of Corte y Confección, he has produced Leticia Dolera’s Canneseries winner “A Perfect Life” and Mariano Barroso’s Basque conflict origins story “The Invisible Line.” Now planning the second season of “Life” and creative documentary “Mulleres” (Women) from Marta Lallana. “I’m interested in in a cinema with the capacity not just to entertain but also surprise me, to open up new windows of emotion and knowledge.”
“I love characters who question everything, whatever the consequences,” Sánchez says. She studied psychology and philosophy and then film business at the Media Business School. Having participated in the production of Meritxell Colell’s Berlinale’s Forum entry “Facing the Wind,” and features targeting wider audiences such as Alberto Marini’s horror-thriller “Summer Camp,” based out of El Capricho Producciones Sánchez produced Lucía Alemany’s San Sebastian hit “The Innocence,” a fresh rural dramedy. Now preparing María Ripoll’s dramedy “Leave the Guns Behind” and Rocío Mesa’s “Tobacco Barns,” a documentary with supernatural touches.
“Movies are collaborative, and I like that,” says Carrizosa. “That said,” he adds, “I love romanric comedies – I wish someday I could make a movie like “Silver Linings Playbook”- and another challenge we have now is creating adventure movies.” His resumé includes Rafa Cortes’ “Yo,” Kike Maíllo’s “Eve,” and El Terrat-produced “Somos gente honrada” from Alejandro Marzoa, among others. With his company, Sábado Películas, recent productions include Maíllo’s “A Perfect Enemy,” a thriller based on Amélie Nothomb’s novel, co-produced with France and Germany, and Dani de la Orden’s romantic comedy for Netflix, “Llámame loco.”
Ramírez was involved in the production of Claudia Llosa’s Berlin Golden Bear winner “The Milk of Sorrow” (Oberon Cinematografica), and J.A. Bayona’s hit “The Orphanage” (Rodar y Rodar). She founded her own company Coming Soon and co-produced alongside Isabel Coixet Elena Trape’s “The Distances” which swept prizes at the 2018 Malaga Festival. Now she’s re-teaming with Trapé on “The Enchanted” and is developing Victor Cuadrado’s thriller debut, “Sleeping Woman.” “We’re interested in stories that speak to us about universal themes by showing a strong personal point of view. That applies to many genres and types of project,” she says.
JORGE CABALLERO RAMOS
Caballero straddles creative documentary and cinematic research. He was a film studies student but also received a training in telecommunications engineering and artificial intelligence. His company, Gusano Films, is about to release the latest film from León Siminiani, “The Stillness Syndrome.” Also in production is Anna Giralt’s “Robin Bank,” sporting an expressive subtitle: “A Guide To Expropriating Banks,” and Iván Guarnizo’s “The Other Side,” a son’s investigating his mother’s kidnapping during Colombia’s civil conflict. ”We started out with a liking for social documentary and evolved towards reflections on new technologies and how cinema can change our conception of the world.”
Studied in Barcelona, then moved to Tel Aviv where she lived for several years forming part of the production team at Heymann Brothers Films (“Who’s Gonna Love Me Now?,” “Mr. Gaga”). Back in Catalonia, she co- founded Gadea Films with Laia Zanon, producing Laura Herrero’s doc “La Mami,” selected for SXSW. Now post-producing “Oh Dear Sara” her first doc feature as a director and developing “Olé mi coño,” a cinematic riposte to a stalker who stole her laptop and threatened to reveal intimate photos. “I want to make transgressive cinema that explores the limits of new narratives,” she concludes.
“I’m excited by creators, the reasons why they want to tell their stories,” Graell explains. Studied at the London Film School where she met Generation Kplus winner Carla Simón and Sundance Grand Jury Prize short winner Álvaro Gago, with whom Graell worked years later on “Summer 1993” and “Matria.” Graell worked at Valérie Delpierre’s Inicia Films before establishing her own company, Ringo Media. She is now co-producing Gago’s awaited first feature, “Something Similar to Happiness” – a follow-up to his multi-awarded “Matria”— alongside Matriuska and Avalon, and developing Zeltia Outeriño’s doc “Patarinos.”
“Our direction is independent, aesthetic cinema, not focused on a concrete genre,” Rodríguez explains. His first feature at Japonica Films, Javier Polo’s “The Mystery of the Pink Flamingo,” is a humorous reflection on the search for happiness and that kitsch symbol of pop culture, the pink flamingo. Selected for SXSW, it’s a documentary, a road movie and a comedy. Japonica’s projects include Guillermo Polo’s road movie/black comedy “Poor Devil”; Lucas’ twisted psychological thriller “Aurora”; and the first-feature from Bárbara Farré, director of Málaga Fest winning short “The Last Virgin.”