Celebrating a significant milestone, renowned Spanish film producer Atresmedia Cine marked its 25th anniversary amidst a vibrant unveiling at the San Sebastian Film Festival, revealing an exciting lineup for the future.
Leading the celebration was Jaime Ortiz de Artiñano, the general director of Atresmedia Cine, who was joined by a host of actors and filmmakers from the studio’s extensive portfolio. A highlight of the celebration was the announcement of a renewed collaboration with the box office favorite Santiago Segura, who is set to create new films over the next four years, continuing their successful partnership following hits from the “Padre no hay más que uno” series. Segura’s production company, Bowfinger International Pictures, is known for generating major box office success in Spain.
Established in November 2000, Atresmedia Cine has played a crucial role in promoting and revitalizing Spanish cinema by combining its extensive experience in rights acquisition with effective marketing strategies. Its involvement in over 180 feature films reflects its status as one of the most active production houses in Spain.
Key Highlights:
- Investment exceeding $591 million (€500 million) by 2024, creating over 30,000 direct and indirect jobs, thus reinforcing the framework of Spain’s cinema industry.
- A dedication to cultural representation, producing films across all Spanish autonomous communities and in all of the official regional languages (Basque, Galician, Catalan, and Valencian).
- Firm support for the theatrical medium, aiming for all productions to grace the big screen while covering genres that resonate deeply with audiences.
Box Office & Critical Success:
- Atresmedia Cine has been behind numerous Spanish box-office successes, with many films grossing over $11.8 million (€10 million).
- Notable successes include titles like “Padre no hay más que uno,” “Undercover,” and “Buffalo Kids,” as well as Santiago Segura’s blockbuster “Torrente 3.”
- The studio has garnered substantial recognition, including nominations for around 50 Goya Awards and other prestigious Spanish film honors, frequently reappearing at renowned national and international film festivals.
Recent Performance:
- In 2024, Atresmedia Cine achieved its highest box office revenues in eight years, amassing over $47.4 million (€40 million) and capturing over 50% market share of Spanish cinema.
- In the first half of 2025, the company’s films secured more than 40% of the local film market.
Variety engaged in a conversation with Ortiz de Artiñano as he prepared for the slate presentation at the Hotel Maria Cristina:
What has changed in Atresmedia Cine’s strategic vision since its inception, and what will be the focus in the coming years?
The pandemic and the surge of streaming platforms have significantly shifted the landscape of the film industry. Initially, Atresmedia Cine prioritized commercial, mainstream productions characterized by blockbuster strategies akin to Hollywood. The charm of films like “La Tribu,” “Ahora o Nunca,” “Toc Toc,” and “Villaviciosa de al lado” attracted well over a million viewers each.
However, since the pandemic, classic high-concept films have seen a drop in theatrical success, although their appeal remains potent on streaming services. Alternatively, Atresmedia Cine has observed a steady demand for more sophisticated and auteur-driven cinema. This trend solidified in 2021 with the theatrical success of films such as “Maixabel” and “The Good Boss” (“El buen patrón”), followed by more critically acclaimed titles like “The Beasts” (“As bestas”) and “A House on Fire” (“Casa en flames”).
The commercial film model still thrives, mainly due to film icons like Santiago Segura. Nevertheless, family-oriented films and adult comedies have been witnessing a decline in audience turnout.
To adapt, Atresmedia Cine is intensifying its diversification efforts, collaborating with renowned directors, screenwriters, and producers to curate a varied and high-caliber film slate. The objective is clear: create influential stories that motivate people to return to theaters.
Moving forward, they are developing projects with talents such as Segura, David Trueba, Arantxa Echevarría, Mar Olid, Estel Díaz, Beatriz de Silva, Aritz Moreno, Marcel Barrena, and Dani Castro, unified by one core element: quality filmmaking.
What is Atresmedia Cine’s role in the globalization of Spanish cinema, and how do you plan to elevate your films on the international stage? Is the recent collaboration with Disney+ a step forward?
Currently, the agreement with Disney+ focuses on television rather than film production. While we appreciate the partnership, film collaborations occur on a select project basis, always with theatrical release as a primary objective. We have two films set for premiere with Disney+ in 2026.
As far as internationalization is concerned, it poses a daunting challenge for Spanish films, which are increasingly finding it difficult to travel. For the future, we are committed to crafting more ambitious productions aimed at international audiences. Projects such as “Karateka” exemplify this approach, alongside other upcoming titles.
However, supporting this ambition requires systemic changes. The financial dynamics of creating Spanish films with substantial budgets are toughening, and an enhanced framework is essential if we truly want to contend on a global scale.
How significant are international co-productions and collaborations with platforms like Netflix, Prime Video, or Disney+ in Atresmedia Cine’s current strategy?
International co-productions play a vital role for us, aiding both financing opportunities and expanding our films’ reach beyond borders. Projects like “Siempre es invierno” by David Trueba, filmed in Liège, and “Karateka,” shot in Japan and undergoing post-production in Belgium, highlight this strategy.
Recent regulatory updates, however, have complicated ambitious international co-productions. The new General Audiovisual Communication Law states that only productions in Spanish or Spain’s co-official languages count toward investment quotas. This restriction complicates collaborations with countries like France or Italy unless there’s reciprocal involvement. Hence, a French producer may hesitate to partner on a Spanish-language endeavor if they can’t mirror that with a French-language project.
Platforms are crucial partners in both financial and global outreach aspects. Our longstanding relationship with Netflix has allowed international audiences to experience our films like “God’s Crooked Lines,” “Politically Incorrect,” and “Mikaela.” Collaborations with other platforms have also been fruitful, proving they are integral to our financing and an effective means of connecting cinema with broader audiences.
How does Atresmedia Cine ensure the profitability of its films amidst shifting viewer habits? What function do cinemas serve relative to digital platforms?
Our approach at Atresmedia Cine begins in the early development stages of every project. We engage closely in refining each concept to ensure it’s market-ready. Once a credible script and talented team are established, we start exploring financing avenues, bringing in pay-TV collaborators, international stakeholders, domestic distributors, public funding sources, and sponsorships.
After evaluating all potential funding channels, we assess the total expenditure and compare it against secured investments—this determines financial exposure, which producers refer to as the “gap.” Our focus then is to recuperate this through box office returns and unsold rights.
Presently, taking performance-based risks within this economic climate is increasingly challenging, making it harder to approve ambitious projects. We utilize a selective, project-based risk evaluation to maximize funding sources. It’s unfortunate, but occasionally, projects we are passionate about do not proceed to production due to financial impracticality; however, our adept team and proven history minimize such instances substantially.
Is Atresmedia Cine considering innovative formats, such as interactive cinema, augmented reality, or transmedia storytelling? How does innovation factor into your future strategy?
Throughout my time in the film industry, I’ve witnessed numerous claimed technological advancements—many of which have ultimately proven to be fleeting. Major changes, like Cinemascope or color usage, have lasted, while others like 3D have become more of a niche. The primary viewer preference remains: enjoying films in traditional settings—daring theaters, with immersive sound systems, and the comfortable ambiance they offer.
Although we monitor innovations closely, our main goal remains centered on storytelling meant for the cinematic experience. Our focus on innovation primarily lies within the production processes where we can leverage technology to enhance efficiency and creativity while delivering stellar content.
2026 Slate:
“Siempre es invierno,” David Trueba.
A story about Miguel, a landscape architect navigating life after a split in Belgium, who finds solace and friendship with local volunteer Olga. Set to premiere on Nov 7.
“Coartadas,” Martín Cuervo.
A comedic journey following Miguel, who, while operating a false alibi service, becomes unexpectedly attached to a judge intolerant of deceit. Hitting theaters on Nov 28.
“Abuela Tremenda,” Ana Vázquez.
A delightful comedy about Toñi, a spirited grandmother determined to connect with her granddaughter by crashing a corporate retreat. Slated for a Jan. 1, 2026 release.
“Todos los colores,” Beatriz de Silva.
A coming-of-age drama exploring Belén’s life, a witty 17-year-old in a wheelchair, as she navigates friendships, first love, and self-discovery during her pivotal final high school year. Due in 2026.
“La Familia Benetón +2,” Joaquín Mazón.
The comedic chaos that ensues when Toni Benetón’s multicultural household adjusts to two new babies. In theaters on April 17, 2026.
“Cada día nace un listo,” Arantxa Echevarría.
A sharp satire on fame and ambition, telling the tale of a washed-up reality star caught in a heist gone wrong with two eccentric partners. Scheduled for May 22, 2026.
“Tres de más,” Mar Olid.
A comedic story of Julia and Ernesto, a couple who embraced a child-free life until three enigmatic kids disrupt their peace, calling them “mom” and “dad.” Coming in 2026.
“Viaje al país de los blancos,” Dani Sancho.
A gripping narrative recounting Ousman Umar’s perilous journey from Ghana to Europe and his eventual discovery of hope in Barcelona, set for 2026.
“Karateka,” Aritz Moreno.
The incredible real-life story of Sandra Sánchez, who defied age and obstacles to become the best karateka in history and Olympic gold medalist at 39. Expected in cinemas on Oct. 30, 2026.
Upcoming Shoots:
“El Profesor,” Daniel Castro.
Based on true events, focusing on Carlos, a professor who embarks on a romantic online journey with Claudia, a younger model in Colombia, teetering between isolation and love’s uncertainties.
“La Roja,” Marcel Barrena.
An inspiring account of Spain’s cricket team as they strive for Olympic qualification, showcasing the unity of diverse communities through a relatively unknown sport in Spain. Featuring Paco Leon.
This rewritten content maintains the structure and key points of the original while ensuring a unique delivery suitable for a WordPress platform.
