In a way, Spain has its own “puberty.” As a Netflix UK drama, no company wants to break away with its wildest dreams.
Nevertheless, when compared to the Spanish series “Pubertad” (“Pubertad”), the follow-up as creator of Leticia Dorera’s Top Cancery Award winner, “Perfect Life,” also focuses on the issue of teenage violence filtered through the lens of adolescent sexual abuse.
“Pubescent,” which will be sold in beta film and scheduled to be released in Spain and Portugal by HBO Max on September 24th, was announced by Dorera and producers Miriam Porte and Oriol Maymo.
Pope recalled at a press conference that the project began with Dorera. Dorera’s early commitments allowed development to move forward. Once that took shape, the team turned to Catalan cultural authorities. “It’s not a Catalan series, so somehow it’s like a natural gateway, so I was the first person to support the project,” she said. That support is soon followed by Francisco Vargas, director of ICEC’s audiovisual area. Porté said, “We quickly realized that an ambitious, large-scale quality series needed support and supported us.” TV3 and 3cat were boarded straight away. “It wouldn’t have been possible without HBO, but it was completely impossible,” she added, describing the fundraising process as “very complicated.”
In the first clip, Julia, a successful single mother and feminist journalist, and her teenage son, eats lunch with her brother Marti, played by Zabi Sars, the head of Marti, the father of a local group of human towers in a small town in Catalonia, and Zabi Sars, who takes on the group that was given her father’s illness. MartíSr. is ruining the argument with Julia. That catalyst comes when the mother now mentions in a reconciliatory way that there is even a pyramid of feminist humans. “Even so, you’re not a lot of happiness,” says Julia, Martian, to feed. “Maybe they (feminists) have motivations,” she replies. “Children need male references,” Marty retorts. Julia’s son looks uncomfortable. Then Pol, Marty’s macho young teen son, appears and is clearly not with Julia’s boy.
“There are multiple layers in this series,” Dorera tells Variety. “One is heritage in many ways. One is cultural and patriarchal, psychological and psychological based on another family. How do all models of psychological inheritance, taboos and masculinity go from father to son and grandchild?”
By this time, the series has already shown the local castle teams and is rehearsing for the competition the next day. Why did Dorera set “puberty” in a small Catalan town in the world of human tower builders? “The Tower of Humans reflects society and how do we have to work as a group,” she said. “Society is not created by individual, stay-at-home members. Creating a castle means meeting people, doing something that comes with values, structure, and ethical consensus. Today, it seems almost innovative – when human trust is not well-established, it is as vulnerable as a community.
In the second clip, Julia meets Estelle, a friend played by Betsy Turness (“47”). She refused. He suggested oral sex instead. She didn’t want to, but we went with her. “This is not a crime case, it’s an area where both parties can produce wounds and trauma,” Dorera explained. The incident then marks Estelle’s self-esteem and it turns out that Ortiz’s perception of women and sexuality is also distorted.
Meanwhile, there are rumours on social media that three teenagers from the Castells team are involved in a sexual assault case. In the third scene, the group discusses what to do. Some people want to go to the police. Others worry that if it’s published they’ll be sponsored. Another reason for Marti’s attention may be that his son Pol is one of the accused. “More than anything, the scene shows the confusion experienced by adults who don’t know how to deal with the subject. It’s a crucial, eye-catching scene in the series,” Dorera said.
The confusion reflects the disconnection of a wider generation, so Dorera proposed: Things, right? ”
“Adolescence” is produced by Porte’s disstinct films and Corte Y Consekuchon Iri films, both led by Oriolmeimo, two of Catalonia’s most successful companies.
The Barcelona-based Dictinto film launched by Miriam Porte is behind the Berlin 2025 Panoramic Audience Awards “The Deaf,” SXSW Best Performance Award winner, Mamifara, and Lucia Aleñer’s “Forestella.”
Maymo produced Cannes Jue Award winners “Sir”, the series “Vida Perfesta” and “Invisible Larinea”, and earned production credits for Sundance’s choices, “Burning”, “(rec 3)genesis” and “(rec 4)apocalypse”.
Distininto Films and Maymó Uri films create Brussels AT-Prod and “puberty.” Co-produced by Catalonian public broadcaster 3CAT.
