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Enrique Costa, Maria Zamora In The First Year Of Elastic – Deadline




Welcome to International Disruptors, a feature where we shine in the spotlight to top executives and companies outside the US shaking up the offshore market. This week, as the 75th edition of the Cannes Film Festival has just kicked off, we are talking to Enrique Costa and María Zamora, co-founders of Spanish distribution and production banner Elastica Films. At just one year old, the company is already making a fuss in the independent sector. They tell us about the first year of the company, their love for cinema and how they build films that relate to the audience.

At last year’s Cannes Film Festival, Enrique Costa and María Zamora touched Croisette after they had just launched their new Spanish distribution-production flag Elastica Films. The pandemic continued to wreak havoc on the theater business and that usual noisy market sentiment felt noticeably quieter compared to previous years.

But that did not stop the new outfit from winning three of the festival’s best competition titles: Leox Carax’s AnnetaOscar nominee by Joachim Trier The worst person in the world and Oscar winner by Ryusuke Hamaguchi Drive my car. The company also introduced Freedom at Critics’ Week, a Zamora production was included with the former duo company Avalon, where they were both partners.

“We will always remember Cannes last year because it was our first time under our new label and it was such a good market for us,” Zamora tells Deadline.

“It was really lucrative for us and a great first festival to launch Elastica,” Costa excited.

And the proof is in the pudding as indie titles continued to do solid business in Spanish theaters: Anneta had 45,000 admissions ($ 232,000); Drive my car won more than 65,000 admissions ($ 357,000); AND The worst person in the world received 250,000 admissions ($ 876,000). These were encouraging numbers that put Spain in the top five markets for each of these festival lovers, sometimes even beating historically larger markets like the UK. And all during a pandemic, however.

It was a bold move to launch a distribution thread as Covid-19 continued to dominate the world, but for Costa, who runs that part of the business while Zamora heads the production side, it made perfect sense.

“I told Maria, this is the right moment because everything is so terrible at the moment,” he said. “The results were so bad that I thought if we have a movie that really works, we want to be there.”

The pair had spent 17 years at the Madrid-based production and distribution company, Avalon, before leaving on good terms and creating Elastica in Valencia last year. With a wealth of experience in their generation in both arenas, he felt a natural breakthrough to branch out and try something new.

“We knew from the beginning what kind of projects we wanted to buy and what kind of talent we wanted to get involved with,” says Costa. “It was easy for us to initially identify what space we wanted to operate in and that means distributing and producing films that we want to see as an audience.”

The company targets its audience primarily through social media and online campaigns, connecting with influencers who have a greater reach in the current climate than a newspaper review can do.

“Social media is crucial,” says Costa. “It’s important what the critics say and how they see the film, but at the same time, now we know that it is also what social media says about the film and how word of mouth spreads through things like Twitter and Instagram. “We have to start building these campaigns very early.”

Elastic Films

Elastica was the main producer after the winner of the Berlinale Golden Bear Alcarràs, whom he co-produced with Avalon. The project, which is director Carla Simón’s second film, follows the life of a family of peach farmers in a small village in Catalonia, whose world changes when the owner of their large estate dies and his eternal heir decides to sell the land, suddenly. threatening their livelihood.

The film has been a huge hit in Spain since its release in late April, taking in more than 250,000 entries ($ 1.2 million and counting) in cinemas and making it the most successful Catalan film in more than 10 years. Encouragingly, it was the older “gray hair” players who were reviving the cinema, an audience that has proven more difficult for distributors around the world to return to the cinema.

Elastica was built on the film’s victory in Berlin and kicked off the Spanish film premiere in Catalonia, inviting the President of Catalonia and the Minister of Culture to the outdoor event, choosing a green carpet instead of a red one – a tribute to agriculture and life rural in remote parts of the region that are now disappearing as large corporations enter land.

“What we did was really special with that premiere,” says Zamora. “It was very exciting. “We put all these different personalities together and made the film close to the audience – they felt that part of it.”

For Zamora, Alcarràs is the perfect example of the kinds of productions Elastica wants in her books – smart and exciting personal stories that have something to say to the global audience.

“I keep looking for directors and stories that have a different angle or a special look or a story that sees something important that we feel compelled to tell,” says Zamora. “I try all the time to look for topics that are in our society and that people are talking about, but we can approach them from a different angle and bring them to light in ways that the audience has not seen before. “

Zamora has a passion for supporting first-time filmmakers, many of whom are women, and has produced 10 films with directors for the first time to date.

“I like to make debut films and discover new talent,” she says. “It’s something I have done for many years and I will continue to do it. At the same time, I am developing relationships with experienced directors. “

Elastica development proposal includes: The third feature of Simón Pilgrimage; mothers do not by Mar Coll; Jaione Camborda’s Theka Horn; AND Elena Martin Gimeno’s Creatures. It is also taking place Red Madonna by Paula Oritz with Amazon and has a host of TV projects in the very early stages.

The company is also producing the directorial debut of Spanish actress Marta Nieto about the story of a transgender boy and his relationship with his mother. “It was important that we tell this story from the mother’s point of view,” says Zamora. “It’s an angle I don’t think we’ve seen before.”

Moreover, he is working on the debut of varlvaro Gago issuethe director who won the Grand Jury Prize at the 2018 Sundance Film Festival for his short film of the same name.

Elastic Films

This year in Cannes, Elastica will be active with Costa admitting that he has set his sights on a set of projects in what looks like a market with very saturated packages. The company has three premiere projects at the festival. there are water by Elena López Riera, who stars in the film “Two Weeks of a Director”, which Costa describes as a “very powerful film”. Elastica is distributing the title with the Spanish platform VOD Film, where it will go after an appearance in the theater.

She is also aboard the French helmet Mia Hanson-Love’s A good breakfast, also appearing at Directors Fortnight. Costa worked at Hanson-Love’s Bergman Island when he was in Avalon and is continuing that relationship in Elastica.

The company also previously won the title of competition in Cannes The triangle of sadness by Swedish director Ruben Ostlund, another Avalon-born relationship when the duo worked on the Helmer title Box.

Zamora will spend her Cannes Film Festival watching many films as the producer is part of the Critics’ Week jury this year.

Next, Costa and Zamora say they have no plans to grow too fast, preferring to take the process organically and thoughtfully.

Zamora notes that there is a model with many manufacturers to increase their list and get many projects at the same time given the global production boom and the appetite of local and global broadcasters.

“It’s very tempting at the moment for producers, because there are so many products that are circulating all the time,” she says. “It can be very frenetic, but the way I work with directors is much more handmade. “We have to build things very slowly and take our time.”

Costa agrees, adding that he prefers to think of Elastics as a big slow cooker. “As a distributor, we must also take our time. We watch how the film goes, growing slowly and slowly and we have to approach and nurture it. Sure, we want Elastica to be in good shape, but it is not our mission to produce five films and three series a year and distribute 20 films a year. It has nothing to do with volume, it has to do with quality. ”

He adds, “We are old school. We are in love with cinema and believe that cinema is here to stay. It is still the most important window in the life of a movie. So we will focus on getting involved in movies we can bring to cinemas and movies where an audience wants to be a part. “We will continue to look for new talent who may have the opportunity to facilitate their careers by bringing their films to the audience.”

This week’s edition of International Disruptors is presented by Guillotine Vodka.




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