{"id":2174,"date":"2026-06-15T09:38:17","date_gmt":"2026-06-15T09:38:17","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=2174"},"modified":"2026-06-15T09:38:17","modified_gmt":"2026-06-15T09:38:17","slug":"ecam-forum-wraps-third-edition-with-undefined-things-ii-the-indies-snow-country-among-winners","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=2174","title":{"rendered":"ECAM Forum Wraps Third Edition With \u2018Undefined Things II,\u2019 \u2018The Indies,\u2019 \u2018Snow Country\u2019 Among Winners"},"content":{"rendered":"
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\n\tMadrid\u2019s ECAM Forum wrapped its third edition Thursday, June 11, with Mar\u00eda Aparicio\u2019s \u201cUndefined Things II\u201d (\u201cLas cosas indefinidas II\u201d) taking the Last Push Award and Pauline Julier and Nicolas Chapoulier\u2019s \u201cThe Indies\u201d (\u201cLes Indes\u201d) scoring a special jury mention, closing a three-day event that again positioned the Spanish capital as a strategic meeting point for indie cinema in Europe and Latin America.<\/p>\n

Read more Korea\u2019s Showbox Teams With ReelShort to Co-Produce Microdramas<\/a><\/p>\n

\n\tThe prizes confirmed the forum\u2019s role as a showcase for projects already carrying strong auteur and international credentials. Aparicio returns to the world of her award-winning \u201cUndefined Things,\u201d now following Eva through Madrid, the Reina Sof\u00eda Museum and a story that opens onto questions of labor, memory and displacement. \u201cThe Indies,\u201d produced by Switzerland\u2019s Alina Film with Spain\u2019s Lastor Media, brought one of the more ambitious European co-production packages in Last Push: a 17th-century historical drama moving between France and Spain as an old order collapses and another struggles to emerge.<\/p>\n

\n\tFilms to Come spread its awards across projects with strong festival and industry potential. V\u00edctor Diago\u2019s queer fantasy-horror \u201cThe Unmoving Hands\u201d (\u201cLas manos quietas\u201d) won the Filmin Award, \u00c1ngel Filguera\u2019s \u201cHanden\u201d took the IFFR Rotterdam Award and V\u00edctor Iriarte\u2019s Spain-France sci-fi drama \u201cSnow Country\u201d received the Screen International Award. Enrique Buleo\u2019s \u201cPalomita Errante\u200b,\u201d a tragicomedy about a character unable to find her place in a world full of prefabricated answers, emerged as the section\u2019s most awarded title, winning both the Madrid Film Office and Equipo SOPA prizes.<\/p>\n

\n\tBuleo\u2019s project arrived at ECAM Forum after winning the ECAM Forum Award at Abycine Lanza, while Iriarte, whose \u201cForemost by Night\u201d premiered at Venice\u2019s Giornate degli Autori\u200b in 2023, follows that career step with \u201cSnow Country,\u201d produced by Spain\u2019s Inicia Films and Palmeras Salvajes and France\u2019s 4A4 Production.<\/p>\n

\n\tThe Les Arcs Award went to producer May Odeh of Mayana Films for Suha Arraf\u2019s \u201cChentian,\u201d a Palestinian-German drama about two sisters, land confiscation, desire and survival under occupation. In ECAM Series Market, \u201cLa caldera,\u201d by Laura L\u00f3pez Fuertes, Jaime P\u00e9rez Fern\u00e1ndez and Juan S\u00e1nchez G\u00f3mez, won the Series Mania Forum Award, while \u201cEl observatorio,\u201d by Laura Roqu\u00e9, Eloy Zamora and Luis Sorolla, received the Serializados Award.<\/p>\n

\nA Forum Built Around Industry Questions<\/strong><\/p>\n

\n\tHeld at Matadero Madrid, ECAM Forum 2026 drew close to 800 accredited participants, including festival programmers, sales agents, distributors, producers, fund representatives and institutional players. Across the lineup, questions of identity, memory, displacement and contemporary uncertainty fed into the forum\u2019s core industry question: how indie cinema can finance itself, travel internationally and preserve singular voices.<\/p>\n

\n\tThat question came into sharp focus at FINDE, the forum\u2019s financing strand. Opening the session, ECAM director Gonzalo Salazar-Simpson framed the event as a relationship-building mechanism, saying the important thing was \u201cnot so much what happens here, but what starts here,\u201d and urging Spanish producers to engage differently with potential investors.<\/p>\n

\n\tCarlos Ant\u00f3n, representing the Madrid Audiovisual Cluster, EGEDA and Crea SGR, described FINDE as a practical attempt to bring private finance closer to audiovisual projects \u201cin a much more dynamic, professional and international way.\u201d Crea SGR, he said, now finances more than \u20ac400 million ($465 million) a year in Spanish audiovisual and cultural projects.<\/p>\n

\n\tThe producer\u2019s view came with a warning. Morena Films general manager Pilar Benito said post-pandemic production costs have risen 20%-25%, while some public support has not kept pace. Fiscal incentives, she argued, are now central to Spanish production, but indie producers still lack \u201cfunds that make real equity investments, at risk\u201d \u2014 financing able to close the final stretch of a budget without forcing cuts to salaries, producer fees or IP.<\/p>\n

\n\tOther FINDE speakers focused on the mechanics of alternative finance. Jes\u00fas Mart\u00ednez, founder and adviser of venture capital fund Moby Dick, said \u201cthe basic and fundamental guarantee is the story,\u201d while Javier Villaseca, of SEGO Creative, and Antonio Manso, of BE&JING, pointed to a more diversified market in which producers combine instruments according to each project\u2019s scale, timing and risk profile.<\/p>\n

\nFilmmakers Push Back Against Speed<\/strong><\/p>\n

\n\tThat concern with scale and control carried into The State of Things, where Rodrigo Sorogoyen, Alauda Ruiz de Az\u00faa and Sandra Romero discussed faster production rhythms, changing audience habits and marketing and casting as areas where creative control is negotiated.<\/p>\n

\n\tThe conversation brought together three directors operating at different points of Spain\u2019s film and TV landscape: Sorogoyen, Oscar-nominated for the short \u201cMother\u201d and a Goya winner for \u201cThe Realm\u201d and \u201cThe Beasts;\u201d Ruiz de Az\u00faa, Goya-winning director of \u201cLullaby\u201d and creator-director of Movistar Plus+\u2019s \u201cQuerer;\u201d and Romero, whose feature debut \u201cPor donde pasa el silencio\u201d premiered in San Sebasti\u00e1n\u2019s New Directors.<\/p>\n

\n\tFaced with a climate of hyperconnectivity and acceleration, Ruiz de Az\u00faa described her instinct as one of withdrawal: giving recent projects the time she felt they needed. She also suggested that spectators increasingly move between two sensibilities \u2014 one shaped by quick consumption, another still open to more complex cinematic experiences.<\/p>\n

Read more U.K. to Ban Social Media for Children Under 16<\/a><\/p>\n

\n\tSorogoyen\u2019s diagnosis was blunter. He said he viewed the speed of the current cultural system \u201cvery negatively,\u201d arguing that faster consumption tends to push the industry toward faster manufacture. Still, the conversation did not present filmmakers as powerless: privilege, time and the ability to choose projects were framed as ways of resisting that pressure.<\/p>\n

\n\tThe exchange also cut into spectators and platforms. Ruiz de Az\u00faa said she thinks about viewers but rejected the idea of writing for an abstract \u201caverage spectator.\u201d For Sorogoyen, sacrificing one\u2019s gaze in order to be understood by everyone is \u201cbread for today and hunger for tomorrow.\u201d<\/p>\n

\n\tMarketing surfaced as another area where filmmakers negotiate how their work reaches the public. Sorogoyen acknowledged that cinema is both art and industry, while Ruiz de Az\u00faa noted that posters, trailers and positioning shape how a film \u201cexists in the market,\u201d even if such conversations usually become concrete once the film has been shot or edited.<\/p>\n

\n\tCasting, however, emerged as a more decisive question of creative control. Sorogoyen said he uses casting to discover whether he and an actor \u201ccommunicate in the same way.\u201d Ruiz de Az\u00faa described it as going \u201cto meet someone,\u201d watching how different performers incarnate different versions of the same character. What emerged was a practical map of creative control: industrial pressure may shape a film\u2019s path, but casting, time and freedom to choose collaborators remain decisive.<\/p>\n

\nIndie Cinema Goes Global<\/strong><\/p>\n

\n\tThe forum\u2019s international dimension was reinforced by two masterclasses, one with Brazilian producer Rodrigo Teixeira and another with Argentine-Swiss filmmaker Milagros Mumenthaler.<\/p>\n

\n\tTeixeira, founder of RT Features and producer of Walter Salles\u2019 Oscar-winning Brazilian drama \u201cI\u2019m Still Here,\u201d Luca Guadagnino\u2019s \u201cCall Me by Your Name,\u201d Robert Eggers\u2019 \u201cThe Witch\u201d and \u201cThe Lighthouse,\u201d Noah Baumbach\u2019s \u201cFrances Ha\u201d and James Gray\u2019s \u201cPaper Tiger,\u201d used his ECAM Forum appearance to argue that indie film production is now fundamentally global.<\/p>\n

\n\t\u201cNo independent cinema is self-sufficient in any country in the world,\u201d Teixeira said in Madrid, pointing to Michael Almereyda\u2019s Don DeLillo adaptation \u201cZero K,\u201d shot entirely in S\u00e3o Paulo with an international cast, as evidence of a new production map. \u201cThe landscape of cinema is much more international than Hollywood right now,\u201d he added.<\/p>\n

\n\tMumenthaler, the Locarno Golden Leopard-winning director of \u201cBack to Stay,\u201d gave the forum\u2019s reflective strand a more intimate register. Presented with Filmadrid, her masterclass moved through houses, bodies, sound and memory \u2014 the materials that have shaped her cinema from \u201cBack to Stay\u201d to \u201cThe Currents\u201d \u2014 while also opening a window onto her next project, a male-led \u201crom-drama\u201d centered on a young man.<\/p>\n

\nA Madrid Meeting Point Comes of Age<\/strong><\/p>\n

\n\tBy the final day, ECAM\u2019s team was reading the third edition as a consolidation year. Alba Wystra\u00ebte, general manager of Fundaci\u00f3n ECAM, said the challenge had been to consolidate the forum in national and international calendars while \u201cgrowing without overflowing\u201d and reinforcing the profile of its speakers and participants.<\/p>\n

\n\tFor ECAM Forum coordinator Alberto Valverde, the event grew out of a simple industry need: \u201cSpain needed a close, friendly meeting point\u201d capable of bringing international festivals, sales agents, producers and distributors to Madrid around a tightly curated project selection. This year\u2019s response, he said, had been \u201coverwhelmingly good,\u201d confirming \u201can edition that has already matured.\u201d<\/p>\n

\n\tThe third edition suggested the forum\u2019s practical use: a Madrid meeting point where indie projects are tested, financing models are debated and international alliances begin to take shape.<\/p>\n

Read more Korea Box Office: \u2018Colony\u2019 Passes 5 Million Admissions Milestone in Continued Reign<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

ECAM Forum 2026 wraps in Madrid with prizes for \u2018Undefined Things II,\u2019 \u2018The Indies\u2019 and \u2018Snow Country,\u2019 plus debates on indie cinema<\/p>\n","protected":false},"author":1,"featured_media":2173,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[1846,1166,1328,1847,1848],"class_list":["post-2174","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-alauda-ruiz-de-azua","tag-ecam-forum","tag-milagros-mumenthaler","tag-rodrigo-sorogoyen-2","tag-rodrigo-teixeira-2"],"yoast_head":"\nECAM Forum Wraps Third Edition With \u2018Undefined Things II,\u2019 \u2018The Indies,\u2019 \u2018Snow Country\u2019 Among Winners - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=2174\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ECAM Forum Wraps Third Edition With \u2018Undefined Things II,\u2019 \u2018The Indies,\u2019 \u2018Snow Country\u2019 Among Winners - 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