According To The variety As it turns 70, Spain’s Semana Internacional de Cine de Valladolid — the Seminci — refuses to look back.
Instead, the country’s second-oldest film festival, running Oct. 24–Nov. 1, is very much forward-facing — while reaffirming its historic humanist DNA while opening its doors to fresh voices, broader audiences and evolving industry realities.
“We didn’t want a nostalgic edition,” says Seminci’s director José Luis Cienfuegos. “It’s a luminous edition, in movement — a festival of filmmakers and for filmmakers.”
With 225 titles and 137 premieres (including 104 Spanish, 29 world, three European and one international), the 70th Valladolid Festival, best known in Spain as the Seminci, stands as one of Europe’s most robust auteur showcases. This year’s edition gathers global heavyweights — Jean-Pierre & Luc Dardenne, Lav Díaz, Kelly Reichardt, Pietro Marcello, Ildikó Enyedi, Christian Petzold, László Nemes and Gianfranco Rosi — alongside an invigorated generation of Spanish filmmakers.
Auteur-Driven, Provocative Edge
“Under Cienfuegos’ direction, Valladolid has gained a more auteur-driven and provocative edge in its film selection,” notes Antonio Saura, CEO of Madrid-based arthouse-crossover sales outfit Latido Films.
That energy defines the 2025 lineup. The official competition brings 24 titles, among them world premieres from Spain’s Rafael Cobos, the Goya-winning co-writer of Alberto Rodríguez hits “Marshland” and “The Plague,” now debuting as a feature director with the thriller “Golpes.”
Also vying for the Golden Spike is Fernando Franco with “Subsuelo,” a psychological drama marking the return of the filmmaker whose debut “The Wounded” won the Special Jury Prize at San Sebastián.
Carlos Saiz, meanwhile, competes with “Lionel,” an emotional road movie about a father–son relationship, produced by Spain’s Icónica Producciones in co-production with France’s Promenades Films.
Other Spanish titles include David Trueba’s “Always Winter,” this year’s closing film, and Judith Colell’s “Frontera,” a Banijay’s Diagonal TV-produced thriller set in Spain’s post Civil War. In total, the festival will host 13 world premieres of Spanish films.
Longtime festival favorite Isabel Coixet opens the edition with “Three Goodbyes” (Italy–Spain), adapted from the late Michela Murgia’s novel “Tre Ciotole.” Part mid-life reflection, part meditation on food and memory, the film marks Coixet’s third Seminci opener after “The Bookshop” (2017) and “It Snows in Benidorm” (2020).
International heavyweights add further prestige: “Silent Friend” by Enyedi, “The Chronology of Water” by Kristen Stewart, “Girl” by Shu Qi, “Sound of Falling” by Mascha Schilinski, “The Blue Trail” by Gabriel Mascaró, and Chloé Zhao’s “Hamnet,” screening out of competition as a special event.
For the festival’s director, coherence is key. Seminci, he says, remains “a programmed and curated festival, not a container” — a space where filmmakers feel they belong.
Two Spikes of Honor add to the celebration: French actress-filmmaker Mia Hansen-Løve (“Father of My Children,” “Things to Come”) and Spanish actor Luis Callejo (“The Captive,” “The Snow Girl”) will both be honored for careers that bridge artistic vision and audience appeal.
Strong Spanish Cinema Presence
For Spain’s homegrown film sector, Seminci remains a touchstone. Its 19 Spanish features and 13 shorts this year showcase a national cinema diversifying in tone and ambition.
The festival points to generational renewal. Filmmakers such as Carlos Solano (“Leo & Lou”), Ana Serret (“Apuntes para una ficción consentida”) and Irene Iborra (“Olivia y el terremoto invisible”) aim to blend creativity with accessibility, supported by a constellation of indie producers boosting Spanish cinema’s rebirth.
That balance between art and audience, Cienfuegos argues, defines what Seminci stands for. Radical experiments can coexist with crowd-pleasers — such as “The Teacher Who Promised the Sea,” a 2023 festival discovery that became a domestic box-office surprise during his first year at the helm.
Its artistic yet pragmatic nature also defines Valladolid’s role as a place of discovery platform, a prestige auteurs’ hub just weeks after San Sebastián — and a bridge for awards-season exposure.
Roots in Humanism
Founded in 1956 as a religious film week, Seminci evolved into Spain’s bastion of socially conscious cinema. Its roots in humanism — from Rossellini to Ken Loach — endure through contemporary themes of migration, identity, gender and ecology, explored in sections such as Punto de Encuentro – reserved for films with potential for significant commercial success – and Tiempo de Historia, aimed at non-fiction productions.
“Seminci was a gateway for realism and a space for debate even during the dictatorship,” Cienfuegos says. “That’s part of its DNA.”
That legacy of engagement still defines Valladolid today, keeping Seminci vital as one of Europe’s most socially-aware auteur festivals.
A Festival for the Next Generation
Beyond the screen, Seminci continues to invest in education and audience development. Two of Spain’s leading film schools — Madrid’s ECAM and Catalonia’s ESCAC — receive Honorary Spikes this year for their role in nurturing new talent. That generational focus extends to the Young4Film network, an European initiative dedicated to building bridges between creators and audiences.
“You can’t program Seminci without understanding its history,” he adds. “Knowledge is what allows us to keep moving forward.”
A Late-Season Hub
Parallel to its artistic programming, Seminci has expanded its professional dimension with the Merci Independent Film Market, the La Meseta development lab and the Europa Cinemas Audience Lab. These spaces turn Valladolid into a late-season hub for industry networking and strategy.
“We’ve built a solid foundation around auteur film,” says Cienfuegos. “Now we’re adding new generations.”
That evolution, Saura adds, captures why Valladolid matters so much to Spain’s film community: “Valladolid has long been a very comfortable and genuinely useful festival for the industry — that’s a rare balance.”
As the Seminci-Valladolid Film Festival steps into its eighth decade, it stands as both a custodian of cinema’s conscience and a catalyst for its renewal.
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