The Basque Production Boom: A Tale of Two Industries

The Basque Country’s thriving audiovisual industry has experienced a 50.5% increase in employment and significant economic growth, but beneath this success lies a complex web of definitions, motivations, and consequences that raise important questions about what constitutes a “Basque production.”

At its core, the issue is not simply one of tax incentives or film shoots, but rather the delicate balance between attracting international productions and nurturing local talent. Producers interviewed for this article highlight the tension between servicing – providing support services for foreign productions – and co-producing – taking ownership and control of a project.

Xabi Berzosa, of Irusoin, a San Sebastian-based production company, argues that films shot in Italy or elsewhere but produced by Basque companies should be considered Basque productions. In contrast, filmmaker Koldo Almandoz emphasizes the importance of cultural intention, language, and local crews in defining what is truly “Basque.”

The Limits of Definition

Defining a “Basque production” becomes increasingly fuzzy as different perspectives emerge. Berzosa’s pragmatic approach prioritizes the involvement of Basque companies, while Almandoz sees this as oversimplifying the complexities of co-production and servicing.

Iker Ganuza, president of producers’ association EPE-IBAIA, takes an industrial perspective, arguing that a Basque production should have deep-rooted business and creative presence, along with decision-making capacity. This raises questions about the sustainability of the industry when international productions come and go, leaving behind economic activity but little else.

The Human Cost

Local producers worry that their companies will be absorbed by bigger players if tax incentives disappear, leading to an exodus of talent and infrastructure. Almandoz’s warning is a stark reminder of the precarious nature of this industry.

Language becomes a critical factor in defining what it means to be a “Basque production.” Ganuza cautions against making language the sole measure, while emphasizing its importance as a cultural marker. Berzosa suggests that films written, shot, and released in Euskara are particularly representative of Basque culture.

Beyond the Numbers

While 219 shoots supported by the Bilbao Bizkaia Film Commission have an estimated economic impact of €138.1 million, these numbers tell only part of the story. The real challenge lies in ensuring that growth does not come at the expense of local companies and talent.

Ganuza’s vision for a sustainable industry is clear: “We must ensure that growth does not leave behind the companies that have built this sector right here.” This may ultimately become a useful measure of success, relevant far beyond the Basque Country.

The Future of Film

As Ganuza points out, the next phase of development should focus on strengthening local companies rather than displacing them. This requires a more nuanced approach to co-production and servicing, balancing international producers’ needs with long-term sustainability.

The article raises important questions about what we want from our film industries – do we prioritize short-term economic gains or long-term cultural significance? The Basque Country’s experience offers valuable lessons for other regions and countries grappling with similar issues. As Ganuza notes, “We have to start talking about where we want the Basque film industry to be in 2030,” not just how many film shoots we’ll have next year.

In the end, the Basque production boom is a tale of two industries – one that attracts international attention and economic activity but risks leaving behind the very companies and talent it relies on. As the debate rages on, it’s clear that the future of film in the Basque Country will be shaped by more than just numbers and tax incentives.