As Pedro begins to apologize, the film takes a surprising turn, diverging from the original short and building towards a poignant and powerful conclusion that challenges both characters and the audience to reflect on the nature of compassion and accountability. This transformation underscores the film’s potential to resonate with viewers on various levels, making it a compelling addition to contemporary cinema.

Marking a Decade of Innovation and Excellence

“Face to Face” stands out as a leading candidate for the A-Fest play, showcasing its significance at this year’s RECLab. Interestingly, the award it received deviates from typical festival norms; instead of monetary support or in-kind services, the film is granted the opportunity for a screening before a live audience. This audience, responding to a call titled “Can You Keep a Secret?” attends without prior knowledge of the film they will watch and are asked to surrender their mobile phones. This unique format encourages genuine reactions and discussions, fostering a deeper connection between the filmmakers and the audience.

Previous winners of the Screening Test award include notable films such as “20,000 Species of Bees,” which garnered acclaim at Berlinale for its leading performance by Sofía Otero, and the SXSW world premiere “Mamífera.” These selections highlight the festival’s commitment to showcasing diverse and impactful cinematic works that push boundaries and explore important themes.

Under the leadership of Javier García Puerto, the REC Festival and RECLab have dedicated their first decade to supporting first and second features, anchored by the carefully curated Primer Test, which serves as a showcase for films in post-production. This focus on emerging talent and innovative storytelling methods has solidified RECLab’s reputation as a vital space for filmmakers seeking to develop their craft and connect with industry professionals.

Throughout its history, RECLab has highlighted significant works such as “Ana by Day,” the debut feature by Andrea Jaurrieta, whose follow-up film “Nina” gained considerable attention at this year’s Málaga festival. Additionally, Meritxell Colell’s “Con el viento” has become a foundational piece of contemporary Catalan cinema, while “Julia Ist,” the first feature from Elena Martín, made waves at Cannes 2023’s Directors’ Fortnight. These films demonstrate the festival’s role in nurturing and celebrating new talent within the film industry.

Ten selected RECLab films, including titles like Diana Toucedo’s hybrid documentary “Thirty Souls” (“Trinta Lumes”), were made available during the summer on the VOD service panorámica, which specializes in showcasing a new generation of Spanish filmmakers. Furthermore, select titles will be accessible again from December 19 through January 19, 2025. An exhibition at this year’s event also served to highlight the achievements and milestones RECLab has accomplished over its first decade.

The Primer Test initiative has established a network of international experts who are invited to screen the films. This year’s guests include SXSW consultant Jim Kolmar, Berlinale selector Ana David, and Locarno selection committee member Daniela Persico. Their involvement enhances the festival’s prestige and provides filmmakers with invaluable insights and feedback.

This initiative also offers critical support for filmmakers navigating the complexities of post-production. As Valérie Delpierre, producer of “Summer 1993” and “20,000 Species of Bees,” noted, “We received the advice and support that we needed during the most fragile moment of editing, just before it closes when you feel you might have lost focus.” Such testimonials exemplify the significant impact RECLab has on the development of emerging films and filmmakers.

Similarly, Mikel Gurrea, director of “Cork,” remarked, “Primer Test helped us to expand and enrich the editing process.” This feedback underscores the collaborative environment fostered by RECLab, which prioritizes artistic growth and development among participating filmmakers.

Innovative Approaches of RECLab

Currently, RECLab is venturing into increasingly innovative and unconventional experiments within the film industry. This evolution reflects the festival’s commitment to pushing boundaries and exploring new formats and ideas that resonate with contemporary audiences.

Established in 1984 alongside Rotterdam’s Cinemart and transformed into a market phenomenon in the late 1980s by the late, great Wauter Berendrecht, various co-production forums have become essential in the film industry. The growth of national film subsidy systems in Europe and Latin America has enabled producers to seek international partners with a reasonable chance of securing co-financing, enhancing the collaborative nature of filmmaking.

However, as the number of forums has increased, the industry has struggled to keep pace. New entrants must offer something unique to stand out. RECLab distinguishes itself by focusing on two key areas: people and audiences, creating a more engaging and inclusive environment for filmmakers and attendees alike.

Through its Primer Test segment, where ten new films in post-production are presented to an audience, RECLab continues to foster international co-productions among its participants. This initiative encourages collaboration and support, essential elements for filmmakers looking to expand their reach and impact within the global film community.

Moreover, its innovative format promotes open and meaningful dialogues around the presented projects. Anette Dujisín, former head of Venice Critics Week and Primer Test coordinator, emphasized that “by prioritizing international strategies over quick pitch-style sessions, Primer Test allows participants to engage in deeper, more impactful discussions.” This approach fosters collaborative insights that extend beyond mere transactional outcomes, such as sales or festival placements.

Exciting New Initiatives at RECLab

Three innovative initiatives have been launched to further enhance the festival’s mission. Directed by Marika Kozlovska, a consultant from Cinema do Brasil, RECPush emphasizes personal connections, encouraging producers to engage beyond their professional roles. This approach nurtures genuine relationships and establishes the groundwork for meaningful collaborations, setting RECLab apart from other industry events that often prioritize projects over personal interactions. Producers from diverse regions, including Finland, North Africa, the Czech Republic, and Portugal, participate in activities ranging from regional dances to pottery workshops, fostering a more human-centric experience. “It’s the opposite of traditional speed dating and far more personal,” stated García Puerto.

Another initiative, RECMatch, pairs independent creators, such as Burnin’ Percebes, with mainstream actors seeking to broaden their careers. This year, actors like Alvaro Cervantes (“Crazy About Her”) and the Dominican Laura Gómez, who is now based in Madre, were invited to join the project. By inviting actors and then calling for projects, they create what one participant termed a “reverse casting,” thereby facilitating unique creative collaborations that can lead to groundbreaking cinematic projects.

Additionally, RECVision, led by Jana Wolff, brought together international audience creation specialists to brainstorm with local initiative leaders. Among these discussions were Granollers’ Young Cineclub Crida Edison, a cineclub curated by its latest generation of members; Nadir, an audiovisual workshop for youth led by Eloi Sánchez; Transhumant, an itinerant cinema that screens films in villages south of the Pyrenees; and Victoria & Savoy, a film program featuring classics and contemporary auteur films tailored for school students in the Ebro region. These initiatives exemplify RECLab’s commitment to engaging diverse audiences and fostering community connections through cinema.

“There are very few examples of organizations that advise on and enhance projects that work directly with audiences,” García Puerto remarked, highlighting the festival’s unique approach to audience engagement. This focus not only supports filmmakers but also ensures that the films resonate with those who watch them, addressing a critical aspect of the film industry’s future.

García Puerto further emphasized the importance of understanding audience dynamics, saying, “Almost every festival supports new projects and aids in the creation of more films, but this raises a significant question: Who is going to see them?” This perspective underscores the need for festivals like RECLab to consider their audiences actively and strategically, ensuring that the films produced find their rightful viewers.

2024 RECLab Awards: Celebrating Outstanding Films

Screening Test Award

“Face to Face,” (A la cara,” Javier Marco, Pecado Movies) 

In “Josephine,” which premiered at San Sebastián’s 2021 New Directors strand, Marco made a quietly powerful debut centered around the serendipitous meeting of two solitary individuals, depicted with a meticulously crafted aesthetic, exceptional performances, and a carefully considered screenplay. Based on what was showcased at RECLab, Marco appears poised to deliver another compelling narrative with “Face to Face,” which explores the tumultuous journey of two egotists—a television star interviewer and an internet troll—as they navigate their way through a challenging path toward redemption.

International Deluxe Award

“Jone, Sometimes,” (“Jone, Batzuetan,” Sara Fontova, ESCAC Estudios)

Set against the backdrop of Bilbao’s Semana Grande, “Jone, Sometimes” follows Jone as she navigates her past relationship with Olga while her father’s Parkinson’s disease progresses. This Basque-language coming-of-age and family drama marks the feature debut of Bilbao-born Sara Fantova, an ESCAC alum chosen to direct three episodes of “This Is Not Sweden.” The film is produced by Escac Estudios, led by Sergi Casamitjana, known for “Salve, María,” along with Amania Films, overseen by director David Pérez Sañudo, recognized for “Ane is Missing” and “The Last Romantics.”

National Deluxe Award

“Lady Bites Dog,” (Armand Rovira, From Outer Space)

Described as a “creation from a humorous, punkish perspective with high artistic quality,” Rovira characterizes “Lady Bites Dog” as “one part auteur genre, one part mockumentary.” The narrative follows a film crew documenting the daily life of Xia He, a serial killer targeting dog abusers, presenting a unique and thought-provoking exploration of morality and justice. Rovira, known for his previous RECLab standout “Letters to Paul Morrissey,” has crafted a film that challenges conventional storytelling.

Málaga Work in Progress Award

“L’homme Abissal o Phaeophytamón,” (Marina Wagner, La Impostura Films)

Presented at Sitges’ WomanInFan in October, Wagner’s film is undoubtedly an “experimental Gothic story,” utilizing black-and-white cinematography shot with 19th-century lenses on an antique camera to create a film composed of stills. Set in 1879 and narrated through letters, the story revolves around a young man facing death and sent to his sister, who oversees a laboratory using algae to treat severe injuries. She offers him the prospect of eternal life, raising profound questions about existence and sacrifice.