The recent nomination of two feature films with the hallmark of Spain, Klaus and Josep, for the European Film Awards, is among the most important pieces of news to celebrate this International Animation Day. Their achievement follows success at the Annie and Bafta awards and the nomination of Klaus for an Oscar, reflecting how Spanish animation continues to be gaining weight and prestige around the world, even in circumstances as difficult as the present.
Klaus, by Madrid-born Sergio Pablos (who is also responsible for the creation of the Disney villains Hades and Frollo, and Universal's Despicable Me franchise) has been rewarded with a slew of awards and recognition at the highest level. Premiered in 2019, it has won seven Annie Awards, the most prestigious in the sector, a Bafta Award from the British film industry; and been nominated for an Oscar (won by Toy Story 4). It is now the clear favourite for a European award.
Klaus, directed by Sergio Pablos
Among the successes of Josep, a French-Belgian-Spanish co-production directed by the illustrator Aurel, is its selection for the Cannes Film Festival. Scheduled for release in Spanish cinemas on 4 December, it tells the story of the life of the Catalan illustrator Josep Bartolí and his experiences in concentration camps in the south of France after fleeing from Franco’s Spain. There he struck up a friendship with a French gendarme, who helped him escape to Mexico where he met Frida Kahlo.
Spanish animation is once more demonstrating its strength on the continent, after success at the European Film Awards in recent years: in 2019 it won with Buñuel in the Labyrinth of the Turtles by Salvador Simó; and one year later, with Another day of life, by Raúl de la Fuente. In addition, Spanish productions received nominations for Birdboy: The Forgotten Children, Planet 51, Chico y Rita and Arrugas.
The winning animated feature will be released on 12 December, in a virtual ceremony for the 33 winners of the European Film Academy’s awards.
Spanish animation, increasingly global
The movie 'Elcano y Magallanes, la primera vuelta al mundo', directed by Ángel Alonso
Although some appear not to take it entirely seriously,
2 out of every 10 jobs and 9% of total revenues of all the audiovisual industry in Spain is generated in the animation sector. With some 250 companies, most of them SMEs located in the regions of Madrid and Catalonia, the sector had revenues of
654 million euros in 2017 and employed 7,500 people directly and 26,000 indirectly. The figures are taken from the
Libro Blanco de la Industria Española de la Animación y los Efectos Visuales (White Book of the Spanish Animation and Visual Effects Industry) published by
Diboos, the sector’s federation.
Spain is in 5th place in the world as producer of animated features and 2nd in Europe. Some 60% of its companies export its production, which is very varied in nature: as well as the cinema and TV series, it generates content for advertising, video games, education, books, interactive accounts, apps, etc.
'Buñuel in the Labyrinth of the Turtles', directed by Salvador Simó
Also key to this international consolidation are the co-production agreements with other countries, of which in 2017 Spain was party to 20. In 2021, for example, Dragonkeeper will be premiered as a coproduction between Spain and China, with a budget of twenty million dollars. In addition, there are the opportunities offered to work on exclusive series and films for premium TV suppliers and streaming platforms such as Netflix, HBO, Movistar+ and Amazon. Around 10% of Spanish animation companies have already worked for these platforms.
Among the challenges faced by animation companies are achieving greater economic stability to continue to grow, now more than ever, and achieving greater visibility for women. According to the Informe MIA 2020 Mujeres en la industria de la animación (MIA 2020 Report on Women in the Animation Industry), only 28% of the positions of responsibility in the main animation features last year were held by women. Although women account for 80% of production management, none of these films has been directed by a woman.