Spanish animation shocked the world in 2023 when Pablo Berger's melancholy story "Robot Dream" was nominated for Oscars. Although Berger is from Madrid, the film is backed by Barcelona-based Arcadia films, a detail that highlights a bigger trend: Catalonia quietly but steadily transforms into one of Europe's most exciting animation hubs.

Now, in 2025, the Catalan animation industry is at a critical moment. With exciting new titles like "Olivia and the Invisible Earthquake", "The Light of Elsa" and "The Treasure of Barracuda" and the powerful ecosystem of institutions and talents behind it, this momentum no longer feels like a fuel. It feels like exercise.

Before this year's Annecy Animation Festival, type Talk to the producers who waved the waves in the area to better understand what is behind this creative boom and what challenges still exist. Their insights reveal a talented sector that is community-based and gains global reach.

Public Support: The cornerstone of Catalan animation boom

Almost everyone in the industry agrees: without a consistent public investment, Catalan animation would not be today.

"One of the key factors is the strong support for the animation capabilities of institutions such as the ICEC and ICAA, referring to the Catalan government's film and television stations and Spanish film companies. She is currently developing the Eco-Fable "Pink Punk Delta", which will be introduced in Annecy's Mifa feature competition. "Their funds make it possible for producers to take creative risks and develop ambitious projects."

Mikel Mas, producer of Annecy competition player "Olivia and The Invisible Eartquake", is the first Catalan freeze-motive ever - agree. "The government has really driven it. In particular, ICEC has made a strong commitment to animation in series and feature films. That's what makes this moment possible."

This public investment is more than just symbolic. In 2017, the creation of a dedicated animation financing line allowed ICEC to fund animation content for hours a year, strengthening an industry that once worked hard to maintain itself.

Education and Talent Development: A Pipeline of Excellence

In Catalonia, there has never been a shortage of talent, but now, thanks to its educational infrastructure, it is more visible and employment than ever.

Sotorra highlights the region’s world-class institutions: “Catalonia is home to some of the most respected schools in Spain and Europe, in the L’Idem, La Salle and Master programs in Escac and Pompeu Fabra. These schools are constantly training great professionals who cater directly to the local industry”.

Teidees executive producer Marta Alonso, co-producer of the upcoming series "Sofa", which will be shared with distributors on this year's Annecy Mifa Amrket, will be the core pillar of industry growth. "There are always talent, but talent is more obvious now because it is being cultivated. If we give people the opportunity to work and grow, then the interests of the entire department."

Apart from that, there are grassroots agencies such as Pepe School Land, which focuses on training with open source software such as blenders, reducing barriers to entry and encouraging various sounds to join the field.

International Joint Production: Strategic Order

In today's global animation economy, few independent projects can be produced in one area. For Catalonian producers, international joint production is not only an advantage, but also a necessity.

Peekaboo Animation's Iván Agenjo, who will be participating in this year's Mifa in his company's 2D series projects "My Little Hero", "Waw Resort" and "BFFS!", breaking it among other ambitious proposals: "It's almost impossible to go through Catalonia or Spain a Spain of Spain of Spain or Save and nestt nearer afterna nethern and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and

For Anna Shchur of Siesta Entertainment, its current "Black Moth" project has animated in Armenia, and in creative leadership in the United States, this strategy is about quality and survival. “Produced entirely in Catalonia is possible, but it’s much more expensive. Co-production gives us access to different markets, funding systems and talent pipelines.” Siesta will showcase “Black Moth” and its 2D children’s series “Biggie and The Magic Bag” at Mifa this year.

However, co-production also has its own complexity. Alonso compared finding the right partner to "find the right person to get married... It's a miracle when it works. When it doesn't, it's a nightmare."

Despite the challenges, these partnerships are crucial to entering foreign markets. As Shchur points out: "If you want to distribute it in Canada or France, you usually need to produce it there. Co-made it opens that door."

Rooted in global attraction

What really sets Catalan cinema apart is not big budget aesthetics or groundbreaking technological advancements. It is a motivated talent, the motivation of talented and unique artists who use their craft to tell stories rooted in life experiences and cultural authenticity.

“Our creative portfolio is very special,” Sotola said. “Many animated films are produced by directors from documentary or live-action backgrounds. They bring different sensibility, rooted stories, emotional depth.”

MAS believes this is the defining advantage of “Olivia”, which involves childhood homelessness through frozen motion. "The film tells about a social problem, but in a way that children can reach. This balance is what makes it powerful between heavy and hopeful people."

Agenjo points out that projects have to go a thin line: “They can be rooted in local culture, but they have to resonate internationally. That’s how we attract partners and distributors abroad.”

Even commercial projects have included more meaningful themes. Shchur's "Black Moth" focuses on women's empowerment and music as a means of building an identity. "It's high quality and the narrative is strong," she said. "It's not only satisfying, but also purposeful storytelling."

Issuance: The lingering weak link

Despite all its advantages, Catalan animation still faces significant barriers to distribution, especially at home. "Distribution in Spain is actually more difficult than abroad," Shchur admits.

Alonso noted the difference in support during and after production: “We need not only money to make movies, but we also need to bring them into the world. The release is that we lag behind countries like France.”

MAS added that public broadcasters like RTVE and TV3 may do more: “These are public institutions, and they should help get culturally valuable movies in front of more people. When commercial movies like “Tadeo Jones” (“Tadeo Jones” (“Tad the Lost the Lost Explorer”) premiere, we should be anywhere.

But, there is hope. Initiatives such as European Images and Featured EU Distribution Grants are beginning to have an impact. But as MAS says: "There are double standards for animation. People want us to go to Cannes and win awards, but also sell popcorn like Hollywood. We need to recognize cultural and commercial success."

Looking to the future

With several major projects launched in 2025, including "The Light of Elsa", "The Treasure of Barracuda" and "Hannah's Forgotten Christmas", Catalan Animation is expected to expand its streak. But maintaining this momentum will require more than just creative excellence. It calls for continued public investment, better distribution strategies and continued focus on international cooperation.

"If we maintain key pillars: public funding, advanced education, international coverage and author voice, Catalan animation will be a global reference for Auteur animation," Sotola said.

In short, Catalonia's animation industry did not experience a bubble, but laid the foundation. If properly cultivated, Catalonia may soon become one of the centers of animation storytelling in the world.