In a significant development for the film industries of both the Philippines and Spain, a groundbreaking co-production treaty is on the verge of being finalized.
The announcement was made by Camilo Vázquez, deputy director general of the Spanish national film agency, ICAA. This forthcoming agreement reflects ICAA’s strategic goal of broadening its international bilateral agreements, of which Spain currently has 22. During a round table discussion titled “Focus on the Philippines” at the esteemed San Sebastian Film Festival, Vázquez emphasized Spain’s commitment to strengthening its ties with Asian markets.
Alongside Vázquez on the panel were influential figures in the Philippine film industry, including Liza Diño, executive director of the Quezon City Film Commission; Monster Jimenez, a producer from This Side Up and ArkeoFilms; and Laura Serra from Barcelona’s Alba Sotorra Cinema Prods.
“We have pinpointed Asia as a region of crucial strategic importance. This area is central to our vision beyond our regular markets in Europe and Latin America,” stated Vázquez, highlighting the Philippines as one of four priority countries in the region. He also mentioned that the technical details of the bi-lateral agreement are nearly complete, pending formal approval from the Ministries of Foreign Affairs from both nations, likely to occur within weeks.
In addition to developing relations with the Philippines, ICAA is also actively pursuing partnerships with India. “Next year will mark Spain–India Dual Year, a pivotal step towards enhancing our relationship across diverse sectors including trade, tourism, and the audiovisual industry. Although a bilateral agreement with India has been signed, we aim to refine and update it,” Vázquez noted.
China also figures prominently in Spain’s expansion plans, with discussions underway to modernize existing agreements. Furthermore, South Korea is an emerging target for negotiations as Spain commences talks for a bilateral agreement. Vázquez acknowledged the impact of South Korea’s film industry, citing global phenomena like ‘Squid Game’ that have resonated strongly with Spanish audiences.
Spain has long advocated for co-productions, recognizing both their economic and artistic merits. Economically, they enhance access to funding by drawing in financial support from various administrations. Artistically, they encourage a creative exchange that fosters collaborative storytelling across cultures, ultimately producing content that resonates with universal audiences.
“The power of stories—whether conveyed through literature, film, or other forms of audiovisual media—is universally understood. Even the most localized narratives can possess immense emotional significance on a global scale,” he elaborated.
Diño remarked on the positive implications of the treaty, stating, “The co-production agreement between Spain and the Philippines is not just a collaborative opportunity for our two nations, but also positions the Philippines as a gateway for Spanish and Latin American producers to access the broader Southeast Asian market.”
Highlighting Quezon City’s ambitions, she mentioned that the city, which houses around 70% of the Philippines’ film and television workforce, aims to become a central hub for regional collaborations. Consequently, the Quezon City Film Commission has revealed a three-year initiative focusing on Ibero-America, planned for 2026 to 2028. During this period, six selected Ibero-American projects will be presented at a project market, attracting industry professionals from Ibero-American countries. The two standout projects will win cash prizes of $10,000 and $15,000.
Moreover, Diño announced the establishment of the Quezon City Ibero-America Fund, which will allocate annual grants of up to $100,000 to one or two projects, contingent upon the participation of both Ibero-American and Filipino producers.
Producer Monster Jimenez shared insights into her latest project, “Daughters of the Sea,” which is currently in post-production and in pursuit of Spanish funding. This film, directed by Martika Ramirez Escobar, showcases the journey of three intertwined lives—inspired by local folklore—centered on themes of discovery, nostalgia, and familial connections.
Jimenez noted, “Our production team is entirely comprised of women. While we did not strictly enforce this as a requirement, it felt instinctively right for us.” Describing her project, she elaborated that it follows LucÃa, a curious tour guide who inadvertently meets her estranged father in Spain, alongside a pet shop owner desperate to save a dying mermaid, and a little girl whose long-missing mother suddenly reappears.
Serra expressed enthusiasm about the collaboration, stating, “Joining this project felt organic to us. We felt an inherent historical duty to tell this story and are grateful for the opportunity to highlight narratives that often remain unexplored.”
