Spanish powerhouse producer Atresmedia Cine celebrates its 25th anniversary at the San Sebastian Film Festival and has announced its upcoming slate.
Jaime Ortiz de Artiñano, general director of Atresmedia Cine, joined by several actors and filmmakers who worked on multiple Atresmedia Cine films, leading the presentation and a series of toasts. He also renewed collaborations with films like the “Padre no Hay Más Que Uno” franchise, breaking news that Atresmedia Cine will be taking part in the upcoming films of Santiago Segura at the box office over the next four years. Segura’s Bowfinger International Pictures is behind some of Spain’s biggest box office revenue.
Since its establishment in November 2000, Atresmedia Cine has set out to support and revitalize Spanish films by combining broadcast rights acquisition power with robust marketing and communications strategies. He has since been involved in over 180 feature films, making him one of Spain’s most active and relevant producers.
Important highlights:
Over 591m (500 million euros) were invested until 2024, creating more than 30,000 direct and indirect jobs, helping to consolidate the Spanish film industry. Commitment to Cultural Diversity: Films filmed in all Spanish autonomous communities and all official local languages (Basque, Galician, Catalan, Valencia). Strong support for theatrical films: All productions target big screens covering genres that engage, entertain and connect with the audience.
Box office revenue and significant success:
Atresmedia Cine produces many Spanish box office hits, many of which exceed 11.8m (10 million euros) in revenue. Notable photos such as “Padre No Hay Más Que Uno”, “Undercover” and “Buffalo Kids” dominate the recent release, and Segura’s “Torrente 3” is working very well. Institutional recognition: up to 50 Goya awards and other major Spanish film awards, as well as frequent presence at national and international festivals.
Recent Performances:
In 2024, Atresmedia Cine grossed at over $47.4 million (40 million euros), earning more than 50% of the market share of Spanish films. In the first half of 2025, the film gained more than 40% of the local film market.
Variety spoke to Ortiz de Artiñano of Atresmedia Cine in preparation for the company’s slate presentation at the hotel Maria Christina.
How did Atresmedia Cine’s strategic vision evolve from its early days? Also, what will be the key focus in the coming years?
The pandemic and the rise of streaming platforms mark a turning point in the film industry. Before that shift, Atresmedia Cine focused primarily on mainstream commercial productions. This is driven primarily by high concept films in the Hollywood sense. Titles such as “La Tribu”, “Ahora o Nunca”, “Toc Toc” and “Villaviciosa de al lado” regularly attracted more than a million movie fans
The appeal of high-concept films in cinemas has declined since the pandemic, but they continue to work well on streaming platforms. In contrast, the more adult-oriented, Auteur-led cinemas that Atresmedia already supported with titles like “Marshland” (“La Isla Minima”) and “The Realm” (“El Reino”) are not only stable, but also improved results, but this shift was revealed in 2021 with films like “Maixabel” and “The Good Boss” (“El Buen Patron”) topped at the box office, followed by “The Beasts” (“As Bestas”), “A House on Fire” (“Casa En Flames”) and “Ra Infiltrada”).
Traditionally, commercial models have largely endured, thanks to numbers like Santiago Segra. Beyond that, family films and adult comedies have seen audience numbers fall by half.
In response, Atresmedia Cine doubles diversification and works closely with top directors, screenwriters and producers to create diverse, high quality slates. The goal is to provide something that stands out and bring people back from the couch to the theatre.
Looking ahead, he is developing projects with talent such as Segura, David Truba, Alanza Ekevalla, Mar Olido, Estelle Diaz, Beatrice de Silva, Alitz Moreno, Marcel Valenna and Dani Castro.
What role does Atresmedia Cine play in the internationalization of Spanish cinema? What are the strategies for placing films in festivals, global platforms, or cinemas outside of Spain? Does the recent agreement with Disney+ represent a step in that direction?
The Disney+ deal currently applies only to television productions. From a film perspective, I love working with Disney, but with every project I always do so with theatrical release in mind. There are two films scheduled to premiere with them in 2026.
Internationalization remains a major challenge for Spanish films. We are in delicate moments. Spanish films find travelling more and more difficult. Going forward, our strategy is to develop more ambitious works that can reach international audiences and reach across borders. “Karateka” is one such project, but there are others too.
That said, the system needs to support this ambition. Making Spanish films on a significant budget is becoming more difficult. And that has to change if we really want to compete on a global level.
How important is the current model of Atresmedia Cine, international co-production and partnership with platforms like Netflix, Prime Video, Disney+, and more?
International collaborative creation is a valuable tool. It’s to secure funding and to help the film reach global audiences. Some of the upcoming releases reflect this strategy. “Siempre Es Invierno” by David Trueba was filmed on Liège, while “Karateka” was filmed in Japan in a post-production in Belgium.
However, recent regulatory changes have made ambitious international joint production even more difficult. The new common audiovisual communication method counts only Spanish or Spanish collaborative language productions towards the investment quota. Therefore, without reciprocity, it will be difficult to collaborate with countries such as France and Italy. French producers will not be partners in Spanish films if they cannot do the same thing as French producers.
When it comes to platforms, they play a key role in both fundraising and international reach. We’ve been working with Netflix for years, and thanks to that partnership, we’ve seen some of our films around the world – “The Bent Line of God,” “Political Wrong,” and “Michaela.” We also work with other platforms. It is clear that they are fundamental parts of the fundraising puzzle and are effective ways to connect cinemas with millions of viewers.
Given the changes in audiovisual consumption habits, how does Atresmedia Cine guarantee the profitability of its production? What role does cinema play compared to digital platforms?
At Atresmedia Cine, we have been involved since the early stages of development. We are working closely until each project is strong enough to move into the market. Once you have solid scripts and teams, start raising funds. It introduces pay TV partners, international players, domestic distributors, free TV rights, public funding tools, sponsorships and more.
Once all funding instruments have been investigated, calculate the cost minus the secured investment. It determines financial risk, what producers call a “gap.” That gap is what we aim to recover through box office revenue and unsold rights.
Today’s challenge is that box office revenue and the current state of the international market make it increasingly difficult to undertake performance-based risks. That’s why it’s difficult to greenlight an ambitious budget.
We employ a project-by-project approach, carefully assess risks and maximize all possible sources of funding. Unfortunately, there are projects that are passionate about not being greenlighted because it is sometimes financially unfeasible, but thanks to the team and track record, it rarely happens.
Is Atresmedia Cine exploring new forms of interactive cinema, augmented reality, and transmedia content? What role does innovation play in your future strategy?
In my experience, the film industry has seen many so-called technological revolutions that ultimately did not stick. Aside from major milestones like Cinemascope and Color, formats that were considered game-changers like 3D ended up being a niche experience.
Most viewers traditionally prefer to watch movies. It’s a dark room, a big screen, and has immersive sounds. Of course, we continue to provide information about innovation, but we never lose sight of what really matters. It tells a great story that means being seen in theatre. The focus on innovation lies in the production process. This helps you do it less, more efficient and creatively.
2026 Slate:
“Siemprees invierno,” David Truba.
Landscape architect Miguel begins to rebuild his life with local volunteer Olga after his farewell in Belgium. Opens November 7th.
“Coartadas”, Martín Cuervo.
A comedy about Miguel running a fake Alibi business – until he falls into a judge who hates liars. Chaos continues. At the theater on November 28th.
“Abuela Tremunda,” Anna Vasquez.
A pleasant comedy about Toni, a wild, free grandmother who crashes corporate hideouts to bond with her granddaughter. Theatre will be held on January 1, 2026.
“Todos Ross Colour,” Beatrice de Silva.
The age drama follows Belem, a keen wheelchair-striking 17-year-old Belem, as she navigates friendship, first love and self-discovery during her transformational final year in high school. It will be 2026.
“La Familia Benetón+2” Joaquín Mazón.
Toni Benetton follows as the two new babies turn upside down in his already chaotic, multicultural home. Double the trouble and double the fun. Theatre will be held on April 17th, 2026.
“Cadadíanaceun listo”, arantxaechevarría.
A sharp satire of fame, ambition, and survival. The washed reality star has been employed for art robbers along with two Misfit partners. It was May 22, 2026 at the theatre.
“Tres de Más,” Mar Olid.
A sharp comedy about Julia and Ernesto, a childless couple whose world is turned upside down while three mystical children call them “Mom” and “Daddy.” It will be 2026.
“Viaje al País de Los Blancos,” Dani Sancho.
The true story of Ottoman Umar, a young Ghanaian who survives a tragic journey to Europe and finds hope in Barcelona. It will be 2026.
“Karateka”, Aritz Moreno.
The real life story of Sandra Sanchez, a karate fighter who rebelled in making his age, odds and expectations the biggest aircraft carrier ever – 39-year-old Olympic gold medalist at the cinema on October 30, 2026.
Upcoming filming:
“El Profile,” Daniel Castro.
Inspired by real events, he follows Carlos, a professor who falls in love online alongside Claudia, a much younger model in Colombia. Between loneliness and doubt, he puts everything at risk for uncertainty.
“La Roja,” Marcel Valenna.
The true story of a Spanish cricket team strives to qualify for the Olympics, uniting diverse communities through sports that are little known in Spain. Star Pacoleon.
