The success of Spain’s regional talent peppers the country’s record-setting Berlinale presence. Both movies in Competition – Isaki Lacuesta’s “One Year, One Night” and Carla Simón’s “Alcarrás” – are made by Catalan directors and are Catalan co-productions. From the Panorama section, “Lullaby” is a Basque and Lois Patiño, whose short “El sembrador de estrellas” competes in official competition, is from Galicia and has one of the most buzzed Spanish projects up for grabs at this year’s EFM in “Samsara.”

Other Catalan  Berlin participants include Forum player “Afterwater,” an international co-production including Catalonia’s Andergraun Films; shorts “Agrilogistics” and The Sower of Stars,” “Lullaby” in Panorama and several standout projects at this year’s EFM.

The rise of filmmakers from different areas from Spain says a lot about new film financing structures consolidating in the country. Productions, Spanish or international, that receive Spanish nationality have access to tax credits that are among the most competitive in Europe. Countrywide, investments in nationalized productions allow producers to solicit a tax credit of 30 % on the first million Euros invested and 25% if the investment is higher, up to €10 million ($11.13 million) per production.

Three regions offer their own conditional rebates however, with the Canary Islands boasting a 50% tax incentive on the first million euros of spend. Navarre offers 35% with no quota limit, and the Basque Country its own 30% credit, again with no quota limitation.

All these incentives led to a boom in regional production and co-production which, at present, boasts the likes of Oscar-nominated director Rodrigo Sorogoyen’s next feature “As Bestas,” shooting in Galicia where Álvaro Gago is also finishing his latest, “Matria,” a co-production between Galicia, Catalonia and Madrid. Mikel Gurrea is finishing a project shot in the Empordà which is a Catalan-Basque production, and “Vasil,” from Avel·lina Prat, is a Valencia-Catalonia co-production.

Beyond the financial benefits of shooting in one of Spain’s autonomous communities, there has been a strong push phenomenon welling under the surface for some time, according to Irusoin producer Xabier Berzosa, backer of recent Spanish Academy-winning fare such as “The Endless Trench,” “Giant” and “Flowers.”

According to Berzosa, the arrival and spread of global platforms has “Left a gap at the cinema, a gap that would normally be occupied by more established talents who are now working for the platforms. Young talent and independent talent from other regions can now take advantage of that gap. That empty space is being redistributed and talent is being consolidated.”

In Catalonia in particular, Mar Medir – current head of Catalan Films & TV – believes that the region’s strength is inherited and stems from a natural blending of arthouse and box office.

“Catalonia has historically been the engine of a type of auteur cinema with a commercial reach,” she explained. “Pioneering filmmakers and important local companies have helped to nourish a particular industry in which the disparate styles of cinema each have their place, with the full range of nuances that exists in between.”

Regional cinema is, however, increasingly pan-regional with producers linking up across Spain and into international not only to raise budgets but also pool expertise.

“Filmmakers from Andalusia, Madrid, Galicia, I think there is a spirit of community that makes us all better,” explains Isaki Lacuesta. “Any time there have been strong movements, they have always been collective. And I think that is the case here as well.”