Lina Irawan
The international film circuit is witnessing a significant surge in Latin American representation this spring as two distinct Spanish regions, the Canary Islands and the Basque Country, host major industry events and festivals dedicated to the region’s diverse cinematic output. This dual presence underscores the growing importance of Spain as a strategic bridge for Latin American filmmakers seeking European distribution, co-production opportunities, and critical visibility. At the forefront of this movement are the ninth edition of the Mercado del Cine Casi Hecho (MECAS) in Las Palmas de Gran Canaria and the debut of the Festival de Cine Latinoamericano, Antillano y Caribeño (FLAC) in the north.
The Strategic Role of MECAS in the International Film Circuit
The Mercado del Cine Casi Hecho, widely known by its acronym MECAS, has established itself as one of the most vital industry hubs for films in their final stages of production. Held within the framework of the Las Palmas de Gran Canaria International Film Festival from April 29 to May 2, the market provides a specialized platform for directors and producers to present their work to international programmers, sales agents, and distributors.
In its ninth edition, MECAS has refined its selection process, opting for a model based on direct invitations to filmmakers and production companies already integrated into its professional network. This strategic shift aims to foster long-term relationships and ensure a high caliber of projects. Out of more than 70 invited projects, 33 originated from Latin America, reflecting the region’s immense creative vitality despite the economic and political challenges often facing its domestic film industries. Ultimately, six Latin American projects were selected for the competitive and laboratory sections, highlighting the region’s dominance in the "Work in Progress" (WIP) category.
Cine Casi Hecho: A Catalyst for Finalizing Latin American Masterpieces
The "Cine Casi Hecho" (Almost Finished Cinema) section is the cornerstone of the MECAS market, focusing on films that have completed principal photography and are currently in the editing or post-production phase. This year, five of the eight selected titles feature Latin American participation, representing a mix of seasoned auteurs and emerging voices.
Among the most anticipated projects is Al futuro by Costa Rican filmmaker Paz Fábrega. Fábrega, who gained international acclaim with her debut Agua fría de mar (winner of the Tiger Award at Rotterdam), returns with a hybrid film that blurs the lines between fiction and reality. The project investigates the complex intersection of artistic creativity and motherhood, a theme increasingly explored in contemporary cinema. The film is a tripartite co-production involving Temporal Films (Costa Rica), Edna Cinema (Spain), and La Mayor (Uruguay), exemplifying the collaborative financial structures necessary to sustain independent cinema in the current global market.
Argentina continues to be a powerhouse of narrative innovation, represented at MECAS by Manque La Banca and Matías Ítalo Scarvaci. La Banca presents Las antigüedades, produced by Pionera Cine, Un Puma, and Mito Films. The film is described as a meditative exploration of historical cycles and paradigm shifts, using the director’s own family history as a lens through which to view broader social transformations. Meanwhile, Scarvaci’s La cuestión criminal, a co-production between Argentina’s Naso Cine and Chile’s By Lace Films, takes a more analytical approach. The project examines the judicial system not merely as a legal framework but as a fragile, collective construction that is constantly being contested and reshaped by society.
Debut Features and Cross-Continental Collaborations
The selection at MECAS also highlights the importance of fostering new talent. Two debut features from Latin America have secured spots in the Cine Casi Hecho section, signaling a robust future for the region’s storytelling.
Colombian director Antonia Hollman presents Point and Shoot, produced by Invasión Cine. This autobiographical work serves as a historical excavation, digging into the early days of cinema in Colombia through a personal family archive. By linking individual memory with national film history, Hollman’s project contributes to the ongoing preservation of Latin American visual heritage.
Simultaneously, Mateo Kesselman’s Leandro Flores showcases the strength of Spain-Argentina co-productions. Produced by Amateurfilms (Spain) and Nevada Cine (Argentina), the film follows a group of teenagers as they navigate the complexities of grief following the sudden death of a peer. This focus on youth and emotional resilience is a recurring motif in contemporary Argentine cinema, often used to reflect on the broader state of a nation in flux.
Rounding out the Cine Casi Hecho selection are projects that demonstrate the globalized nature of modern production. Nele Wohlatz, a German filmmaker residing in Argentina, presents Der Löffel (La cuchara). Wohlatz has previously earned accolades for her ability to capture the nuances of language and migration, and her new project is expected to continue this exploration. Other international entries include Karl Marx, Luanda by Angolan filmmaker Kiluanji Kia Henda and La belleza by Spanish director Marina Lameiro, illustrating that while Latin America is a focal point, MECAS remains a crossroads for global independent cinema.
Terrero Lab and the Inclusion of Indigenous Perspectives
Beyond films in post-production, MECAS also supports projects in the earlier stages of development through its Terrero Lab. A standout selection in this category is the Brazilian project Omágua Kambeba, the directorial debut of Adanilo. Produced by Teatro Galeroso and TvZero, the film is a significant entry in the growing movement of indigenous cinema in South America.
Adanilo, a member of the Kambeba people, utilizes the film to track the resistance of three generations of his community against the long-term impacts of European colonization. The inclusion of Omágua Kambeba at MECAS reflects a broader industry trend toward diversifying narratives and providing platforms for marginalized voices to reclaim their histories. For indigenous filmmakers, markets like MECAS are crucial for securing the international partnerships needed to bring their perspectives to a global audience.
FLAC: A New Institutional Platform for Social Justice Cinema
While the Canary Islands focus on the industrial and developmental aspects of filmmaking, the Basque Country has launched a new initiative focused on exhibition and social impact. The first edition of the Festival de Cine Latinoamericano, Antillano y Caribeño (FLAC) recently commenced in the town of Mungia. Organized by the association Emigrad@s Sin Fronteras (Emigrants Without Borders), the festival is designed as a traveling showcase that will move through various Basque municipalities over the course of a month.
FLAC distinguishes itself by its rigorous focus on recent documentaries that address human rights, migration, and social justice. The festival aims to create a space for dialogue between Latin American creators and the Basque public, fostering a deeper understanding of the shared challenges facing the Global South and the immigrant communities in Europe.
The Documentary Lens: Human Rights and Collective Memory
The programming for FLAC features a curated selection of films that prioritize political urgency and historical memory. The festival opened with the Uruguay-Argentina co-production Mala reputación, directed by Marta García and Sol Infante, a film that sets the tone for a month of socially conscious cinema.
The Argentine documentary sector is particularly well-represented, reflecting the country’s long-standing tradition of militant and investigative filmmaking. Titles include Un mundo recobrado by Laura Bondarevsky (a co-production with Uruguay) and Sangre negra by Hernán Alvarado Martínez. These films often serve as vital tools for documenting state violence and the ongoing struggle for accountability in the Southern Cone.
From Mexico, Luciana Kaplan presents Tratado de invisibilidad, a project that explores the systemic erasure of certain social groups within the modern Mexican state. The Andean region is represented by Luis Cintora’s Peruvian documentary Este fue nuestro castigo, which revisits the scars left by the internal armed conflict in Peru. Additionally, the Colombian documentary El caso Freytter examines the intersection of academic freedom and political persecution, while the Basque-Honduran production Acuerpadas highlights the transnational nature of feminist activism and the protection of territory.
Institutional Support and the Spain-Latin America Co-production Bridge
The high volume of Latin American projects in Spain this spring is not a coincidence but the result of decades of institutional cooperation. Frameworks such as the Ibermedia Program, which provides grants for co-production and distribution across Ibero-America, have been instrumental in creating a sustainable ecosystem for these films.
Industry analysts suggest that the presence of Latin American cinema in Spanish festivals acts as a "litmus test" for the European market. Success at an event like MECAS often leads to premieres at "A-list" festivals such as San Sebastián, Venice, or the Berlinale. Furthermore, for many Latin American producers, Spanish co-production partners offer a gateway to European Union funding and a more streamlined path to theatrical release in the Schengen Area.
The direct invitation model adopted by MECAS this year also indicates a maturing of the market. By moving away from an open call and toward a curated selection based on established networks, the festival is positioning itself as a boutique industry event where quality and feasibility are prioritized. This approach benefits Latin American filmmakers who have already demonstrated their ability to navigate the complex world of international financing.
Broader Impact and Implications for the Future
The convergence of MECAS and FLAC signifies a holistic approach to supporting Latin American cinema in Spain—addressing both the "business" of film and its role as a cultural and political ambassador. As MECAS concludes its activities in early May, the industry will be watching closely to see which projects secure the necessary funding to reach completion. The awards and visibility granted at Las Palmas often serve as the final push needed for a film to transition from a "work in progress" to a finished masterpiece.
Meanwhile, the month-long duration of FLAC in the Basque Country ensures that the social messages of Latin American filmmakers reach a grassroots audience. By decentralizing the festival and moving it through different towns, Emigrad@s Sin Fronteras is making a powerful statement about the accessibility of culture and the importance of international solidarity.
As the global film industry continues to recover from the disruptions of recent years, the strength of the Latin American contingent in Spain provides a hopeful outlook. The themes being explored—from the intimacy of motherhood to the macro-scale of indigenous resistance and judicial reform—suggest a cinema that is not only artistically ambitious but deeply engaged with the most pressing issues of the 21st century. The success of these projects in the Canary Islands and the Basque Country will likely resonate throughout the upcoming festival season, reaffirming Latin America’s position as a central pillar of world cinema.
Lana Rhoades
Candice Horbacz
Rifan Muazin
Jia Lissa
admin