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Ten takes on this year’s San Sebastián Film Festival, which runs Sept. 18-26 at the picturesque Basque Country resort:
Brad Pitt, Penelope Cruz, Naomi Watts and More
Last in San Sebastián way back then with “Inglourious
Basterds,” Brad Pitt returns for “Heart of the Beast.” Busiest star of the festival? Penelope Cruz, fresh off a TIFF Special Tribute Award, at San Sebastián with “The Invite,” “Bunker” and “La Bola Negra,” all moreover Oscar contenders, as Awards season conversation spills over into San Sebastián. “Bunker” and “The Beloved” screenings should attract Javier Bardem. Watts receives a prestigious Donostia Award Sept. 19, New German Cinema leading light Werner Herzog picks up his at San Sebastián’s Sept. 18 opening ceremony.
San Sebastián-CAA Media Finance Creative Investors Conference
From 2022, speakers like Roeg Sutherland, Patrick Wachsberger, Vincent Maraval and Neon’s Sarah Colvin have laid it on the line on how to confront challenges in the U.S. (cost, contracting budgets, unreliable tax breaks) and Europe (most recently, the need to scale), plus more promisingly, an evolution in U.S. theatrical audiences. Speakers this year take in execs from Acme AI & FX, Black Bear International, Media Capital Technologies, Mubi, Neon, Studiocanal and Sumerian Pictures, the Larraín brothers and Rodrigo Teixeira. Topics include the New U.S. Landscape, Europe’s Current Challenges & Opportunities and Vincent Maraval’s Insights from Goodfellas.
Spain Has Never Had It Better
In 2024, the last year for which figures are available, global streamers poured €2.0 billion ($2.3 billion) into Spain, €0.8 billion ($0.9 billion) into France, €0.7 million ($0.8 billion) into Germany, according to the European Audiovisual Observatory. Spain made 423 features last year, France 228: Cannes Marché du Film Focus report estimates. In TV, Netflix Spain has just shepherded the Mallorca shoot, much in the Mallorquín local language, of “Rafa,” the first non-English language series to score a Primetime Emmy nomination. “Spanish Cinema has never been more powerful, with so many international titles,” says San Sebastián Festival Director José Luis Rebordinos. That power plays out across the whole festival.
‘La Bola Negra,’ San Sebastian’s Biggest Movie
One case in point: It’s a mark of synergies struck between festivals that the biggest title at San Sebastián, at least for local audiences, already played at Cannes: the French Festival’s biggest Oscar contender, “La Bola Negra,” a Movistar Plus Original. “We’re being flooded with requests for tickets and we haven’t even announced its screening date, let alone opened sales,” Rebordinos told Variety late August. Launching its first movie slate, SVOD-pay TV Movistar Plus talked about backing event auteur films. In “La Bola Negra,” from Javier Calvo and Javier Ambrossi, it has its biggest yet.
Spain’s Finest Hour at San Sebastián
And another: San Sebastián’s Made in Spain, its recent Spanish standouts strand, framed an average 11 films over 2018-22. In 2026, it will showcase 24 including Pedro Almodovar’s “Bitter Christmas” and Rodrigo Sorogoyen’s “The Beloved” (though the both have opened in Spain). Playing out of competition are “After Society,” J.A. Bayona’s follow up to “Society of the Snow,” and Oscar winner Fernando Trueba’s country-hopping “Bajañí.” “Flamenco Sketches,” from double San Sebastián Golden Shell winner Isaki Lacuesta, bows in Zabaltegi.
Buzz Titles & Discoveries
There’s big expectation for the world premiere of “Les Miserables,” an epic, but more realistic thriller take on the classic from Fred Cavayé and Studiocanal. Michaël R. Roskam’s fest closer “Le Faux Soir” and series “El Castillo” count among buzz titles. As for new directors, there’s good word on titles from Japan’s Maha Harada (“In My Father’s Room”) in competition and in New Directors pics from Norway’s Marlene Emile Lyngstad (“Cute”), Brit Billy Lumby (Florid”), Kazakh Anna Nurdinova (“Mugalim) and Mexico’s Rodrigo García Saiz (“Morro”). Anybody who hasn’t caught Clara Simón’s sensational “Flamenco” has a chance to do so on Monday, with the director in attendance.
Pablo Larráin, Benjamín Naishat
“I’m convinced that in 10 years time Rodrigo Sorogoyen and Los Javis will be among the most important directors in the world,” says Rebordinos. Another Spanish-language filmmaker, Chile’s Pablo Larraín, has arguably already made the grade. The director of “Jackie,” “Spencer” and “Maria” has at San Sebastián the world premiere of “My Sad Dead,” a movie format presentation of the Netflix TV series and one of the buzziest of competition contenders. Naishtat segues from Toronto with “Glaxo,” packing a scene-stealing turn by Lali Espósito. “She reminds me of the stars of classic Hollywood studios cinema,” says Rebordinos.
One of San Sebastián’s Big Questions
This July, Movistar Plus, behind “The New Years,” “La Mesías” and “Querer,” announced it will double Spanish original series production from 8 to 16 a year, co-producing or acquiring 10 more. “Movistar Plus is still the foremost home for Spanish creativity. We aim to build even more on that sense of local ambition, but looking for titles with international relevance,” Movistar Plus Contents Director Juan Andrés García Ropero “Bropi” tells Variety. In films, Movistar Plus also co-produced ““Sirāt,” “The Beloved” and “La bola negra.” The industry will be looking for hints at San Sebastián as to Movistar Plus’ movie production roadmap.
Made in Spain allows critics and distributors to catch up on films they’ve missed, allowing another opportunity for earlier in the year titles, says Rebordinos.
Basque Cinema’s Newest Generation
There’s no Basque film in main competition this year, which is quite unusual, down from three titles in 2025. That’s not to say that there aren’t notable Basque films. Igor Legarreta’s “Blind Ants” weighs in as a calling card for Basque Country production standards. There’s good word on “The Last Goodbye,” Koldo Almandoz (“Mouths of Sand”), one of the most distinctive of Basque auteurs, plus Javier Giner’s “This Solitude” in New Directors and Nitya López Saitua’s “Family Drill” in Zinemira, first features from a newer generation of Basque directors whose ranks are fast swelling.
José Luis Rebordinos’s Swan Song
When Rebordinos appeared on stage this July at Madrid’s Academia de Cine to present San Sebastian’s Spanish titles, the industry-press audience got to its feet to a man and woman to deliver him a standing ovation. Few festival directors have proved so popular. Among his achievements since 2010: Stability, sponsors, a battling candor on hot-button issues, an industry build and the vision to frame and help drive Spain’s emergence as one of Europe’s key film-TV powers. Rebordinos’ Madrid tribute will not be his last. With Maileen Beloki, his successor from Jan. 2027, a member of Rebordinos’ team from 2016, expect evolution not revolution: You don’t tear down one of the loveliest festivals in the world.
