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Spanish Horror Co-Productions in the Post-2000 Revival: New Partners and Challenges

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Spanish Horror Co-Productions in the Post-2000 Revival: New Partners and Challenges Spanish horror co-productions in the post-2000 revival: new partners and challenges Rui Oliveira ([email protected]) Mass Communication – Faculty of Arts, Design and Social Sciences Northumbria University 1 Spanish horror co-productions • What production companies are responsible for the new output of horror co- productions in the Spanish film industry? • Who are now their main international partners? • How has the crisis affected these companies? 2 Spanish horror co-productions First Period (mid-1960s to early 1980s): • Italy and Spain were two of the largest producers of horror films in Europe. • Italy was Spain’s main business partner in genre cinema (including horror). • Other relevant partners: France, West Germany and UK. • Mostly under bilateral or multilateral co-production treaties. • Ley Miró (Miró Law) in 1983 leads to a dramatic reduction in Spanish horror co-productions. 3 Spanish horror co-productions Late 1980s: • European Union’s MEDIA programme: created in 1987. • Eurimages programme by the Council of Europe, in 1989: encourages the co-production, distribution and exploitation of European cinema. Mid-1990s: • Restructuring in the film regulations and subsidy policies in Spain. • Fundamental changes in the financing of the Spanish film industry. 4 The late 1990s, early 2000s: Sogetel and Sogecine 1990 - 1996 1997 Production Distribution 5 The late 1990s, early 2000s: Sogetel and Sogecine El Dia de La Bestia (Spain/Italy, Abre los Ojos (Spain/Italy/France, Álex de La Iglesia, 1995) Alejandro Aménabar, 1997) 6 The late 1990s, early 2000s: Sogetel and Sogecine Los Otros/The Others (Alejandro Aménabar, 2001) ▪ Spain: Sogecine + Las Producciones del Escorpeón (José Luis Cuerda) ; Warner Sogefilms (distribution) ▪ U.S.: Cruise/Wagner Productions (production) ; Dimension Films (U.S. distribution) 7 (Miramax) Filmax and the Fantastic Factory Filmax (1980s) Filmax (1996 – present) Fantastic Factory (1999-2006) Filmax International stand (Cannes 2015) 8 Filmax and the Fantastic Factory • American directors, to help launch the label: Beyond Re-Animator (Brian Arachnid (Jack Sholder, 2001) Yuzna, 2003) Faust: la Venganza esta en la Sangre (Brian Yuzna, 2000) Dagon, la Secta del Mar (Stuart Gordon, 2001) 9 Filmax and the Fantastic Factory • Spanish directors, new talent arriving at the film industry: Romasanta: la Caza de la Bestia (Paco Plaza, 2004) Darkness (Jaume Balagueró, 2002) La Monja (Luis de la Madrid, 2005) 10 Filmax and the Fantastic Factory • Five co-productions with the British production company Future Films : Darkness (Jaume Balagueró, Rottweiler (Brian Yuzna, 2004) 2002) Future Films (2000 - Present) La Monja (Luis de la Madrid, 2005) Romasanta: la Caza de la Bestia (Paco Plaza, 2004) Beneath11 Still Waters (Brian Yuzna, 2005) Filmax beyond Fantastic Factory • Other Spanish-British co-productions between Filmax and Future Films: Future Films (2000 - Present) Frágiles (Jaume Balagueró, 2005) Los Abandonados (Nacho Cerdá, 2006) 12 Filmax beyond Fantastic Factory • Other recent horror co-productions from Filmax (under its label Castelao Pictures): The Returned (Spain/Canada, Manuel Sweet Home (Spain/Poland, Rafa Summer Camp (Spain/USA, Alberto Carballo, 2013) Martínez, 2015) Marini, 2015) 13 Rodrigo Cortés’ horror/thrillers • Other recent co-productions: Rodrigo Cortés’ horror/thriller collaborations with the U.S. (smaller companies) Buried (Spain/USA, 2010) Red Lights (Spain/USA, 2012) 14 Conclusion • Most of these horror co-productions are less distinctively Spanish, in order to be internationally marketable. • The co-production model continues to be a financing strategy used by production companies in Spanish horror, as it was in the first period. • In this second period, the favourite partners are now the UK and the US. Spanish companies have the largest contribution. • With the crisis, some companies (Filmax) have been able to adapt to the new demands of the markets and have made alliances in the distribution sector. The video market is the alternative. 15.
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