In the last 15 years eight Spanish short films have opted for the Oscar. In the same period of time no feature film has managed to be in the finalist quintet for Best non-English speaking film. The numbers speak for themselves, and show that the short film has an iron health and enormous potential outside our borders. That only in Hollywood, because if you look at international festivals and awards you will find the same. Timecode, by Juanjo Giménez, took the Palme d’Or at Cannes, a festival where our films do not even appear. This same year, at the Berlinale, Suc de Síndria obtained a mention that pre-classified him for the European film awards.
The best Spain Brand goes through the short films of our directors and directors. Many of them seek to make the leap to their debut opera, others, such as Rodrigo Sorogoyen, returned to the short format after triumphing in the Goya. What is clear is that the talent of our storytellers is recognized everywhere and that there is a formula that works. In that equation, the name of María del Puy Alvarado, producer of the Oscar-nominated short film with her company Malvalanda and one of the women who drive and grow the Spanish industry stands out.
For her, part of this success is given by “the institutional policies from which there is great support for the short film, both by the ICAA and the autonomous communities”. “When there is that support, it is better, and much, and it shows. I think that is the key. When you produce a lot it is easier for a jewel to come out, because if you support only two shorts a year it is difficult, but if you support a lot it comes out. Spain is a great power in the world of short films, and the figures and data are there, ”he tells EL ESPAÑOL in the framework of the Madrid Short Film Week.
Alvarado has presented his new work, Snorkel, and is finishing the feature film Madre, which continues the story that Rodrigo Sorogoyen began in short format and that took them both to the Oscars. He acknowledges that in the short film there is everything from projects that go ahead with a thousand euros to more industrial jobs, such as those they do and that are more expensive. They have been in this industry for ten years, and each job is taken “as if it were a movie”, although it is easier than raising a feature film “because even if you don’t get the financing at the end you can throw yourself in the pool and put it on yourself.”
The cornerstone for raising a short film is financing, and here it is essential to find “institutional support”. “Ours are not lower than 30,000 euros, they are professionals and everyone is paid, but the first step is always to get support from institutions and televisions, as with movies. Once you get it, or not, we see how much you have to invest and if we do it or not, something unthinkable in a movie, where you can’t put two million on the table, ”he explains.
To watch a short spanish peliculas online gratis, you always use the same channels: festivals. In Spain and in most countries of the world, the short film is not put in commercial rooms, and the contests are the best way to be known, and although it seems that a short film can be seen by fewer people, sometimes they go through so many countries that “may even have more diffusion than a long one”. “First there is the circuit of festivals, and then there is the broadcast in Movistar, now in Telemadrid, which have a space for the short films, Spanish version … they go through international festivals and the rooms are full, that’s a lot of spectators,” says the producer , which emphasizes that Mother went through 200 festivals around the world, and that on the Telemadrid website, after the Oscar nomination, 40,000 people saw it, a long life that contrasts with “movies that unfortunately do not work the first weekend and disappear from the billboard. ”
The question is inevitable. If there is so much Spanish short triumphing in the most prestigious festivals and Oscar nominee … what about the lengths? María del Puy Alvarado does not dare to give a definitive answer, and points out that Cannes is a very difficult place, and that there is another circuit of festivals where independent cinema is traveling very well, but also points to one of the problems of our industry : the disappearance of the middle class. “We have a commercial cinema that is very good and that has to exist, and there is the independent one that is increasingly smaller and with less budget, but it is cinema of the 90s and early 2000s, which was an author’s cinema that could have more visibility at festivals, it is increasingly difficult to finance ”, ditch.