Javier Marco’s film “Face to Face” (“A la cara”), a compelling extension of his acclaimed 2021 Goya-winning short, emerged as a major highlight at this year’s RECLab in Tarragona, Spain. This event, celebrating its tenth anniversary, continues to excel in fostering innovation that challenges traditional film festival norms. RECLab stands out for its commitment to exploring new artistic directions and methodologies, ensuring that it remains at the forefront of cinematic evolution.

Among the notable winners at RECLab, part of the broader REC – Tarragona International Film Festival, were “Jone Batzuetan” directed by Sara Fantova, known for her work on “This Is Not Sweden,” and “Lady Bites Dog” from Armand Rovira, who previously directed “Letters to Paul Morrissey.” These films exemplify the rich tapestry of talent and creativity showcased at this influential festival, highlighting emerging voices and unique storytelling approaches.

Marina Wagner’s “L’homme Abissal o Phaeophytamón,” described as an “experimental Gothic tale,” secured the prestigious Málaga Work in Progress Award. This recognition underscores the festival’s dedication to supporting innovative narratives and experimental cinema, encouraging filmmakers to push the boundaries of traditional storytelling and engage audiences in new and exciting ways.

Unveiled at RECLab in a raw post-production state—free from color grading, sound design, and digital effects—Marco’s feature “Face to Face” revisits its short film’s core concept. The narrative follows Pedro, a middle-aged man with an unkempt appearance, who opens his door to Lina, a well-known television interviewer. Initially, she inquires about a room for rent, but her true intention is much darker: to confront Pedro with a harrowing online comment he made about her, which reads, “You deserve what happened to you. I hope you kill yourself too, f*ing bitch. If you want, I’ll help you.” This intense moment sets the stage for a gripping exploration of redemption and human connection.
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As Pedro’s apology shifts the narrative’s trajectory, the film builds towards an emotionally charged finale. This transformation not only redefines the relationship between the characters but also invites viewers to reflect on the complexities of human emotions and the consequences of our actions in the digital age. The film promises to be both a thought-provoking and visually engaging experience.
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<strong>Honoring a Decade of Innovation in Film</strong> </h3>
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“Face to Face” has emerged as a frontrunner for the A-Fest award, highlighting its significant impact at this year’s RECLab. Rather than traditional monetary prizes, the festival offers a unique award: a screening for a live audience who comes in without knowing which film they will view, leaving their cell phones at the entrance. This immersive experience, guided by a host, prompts real-time reactions from viewers, creating a dynamic atmosphere that enriches the film’s presentation and reception.
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Earlier winners of the Screening Test have included notable films such as “20,000 Species of Bees,” which earned accolades at Berlinale for Sofía Otero, and the world premiere “Mamífera” showcased at SXSW. These films not only reflect the high caliber of talent presented at RECLab but also emphasize the festival’s role as a launching pad for innovative cinematic projects that resonate with global audiences.
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Under the leadership of Javier García Puerto, the director of both the REC Festival and RECLab, alongside his esteemed role at the Tallinn Black Nights Festival, RECLab has devoted its first decade to fostering first and second feature films. The festival is built around the meticulously curated Primer Test, a showcase for films in post-production, which has become a cornerstone of the festival’s identity and mission.
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Over the years, RECLab has highlighted several significant works, including “Ana by Day,” the debut film from Andrea Jaurrieta, whose follow-up “Nina” garnered attention at Málaga this year; Meritxell Colell’s “Con el viento,” a foundational piece of contemporary Catalan cinema; and “Julia Ist,” the debut feature of Elena Martín, whose subsequent project “Creatura” was showcased at Cannes 2023 Directors’ Fortnight. These films underscore RECLab’s commitment to nurturing diverse voices in the film industry.
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This summer, ten standout titles from RECLab, including Diana Toucedo’s documentary hybrid “Thirty Souls” (“Trinta Lumes”), were made available on the VOD service Panorámica, which specializes in supporting a new generation of Spanish filmmakers. Some of these titles will be re-released from December 19 through January 19, 2025, allowing audiences to engage with these remarkable works once again. An exhibition at this year’s event also served to highlight the significant achievements of RECLab over its first decade, celebrating its impact on the film community.
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The Primer Test initiative has also cultivated a network of international experts who are invited to screen the films. This year’s distinguished guests included SXSW consultant Jim Kolmar, Berlinale selector Ana David, and Locarno selection committee member Daniela Persico, who brought their invaluable perspectives to the festival. Their involvement enhances the caliber of feedback and support provided to filmmakers, fostering a collaborative environment that encourages artistic growth and innovation.
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The insights gained through this initiative are invaluable for filmmakers navigating the complex landscape of the film industry. As Valérie Delpierre, producer of “Summer 1993” and “20,000 Species of Bees,” noted, “At REC, we received the advice and support we needed during the most fragile moment of editing, just before the finish when you think you might have lost focus.” This emphasizes the festival’s crucial role in supporting projects at various stages of development.
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“Primer Test helped us expand and enrich the editing process on ‘Cork,’” agreed Mikel Gurrea, the film’s director. This collaborative approach not only enhances the films presented but also strengthens the community of filmmakers working to push the boundaries of storytelling.
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<strong>Innovative Approaches: What Makes RECLab Unique</strong> </h3>
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Currently, RECLab is embarking on increasingly innovative and unconventional experiments that set it apart in the film festival landscape. This evolution is crucial as it adapts to the ever-changing dynamics of the film industry, ensuring that it remains relevant and impactful.
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Since its inception in 1984 with Rotterdam’s Cinemart and evolving into a market phenomenon by the late 1980s under the late Wauter Berendrecht, co-production forums have become essential pillars of the industry. The expansion of national film subsidy systems in Europe and Latin America has empowered producers to seek international partners with a viable chance of securing co-financing. However, with an overwhelming number of forums available today, the industry struggles to keep pace with the sheer volume of opportunities.
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In this crowded landscape, any new entrant must offer something distinctive. RECLab distinguishes itself by focusing on two critical axes: <b>people and audiences. By prioritizing meaningful connections and fostering collaborations, the festival creates an enriching environment for all participants.

Through the Primer Test segment, where ten new films in post-production are presented to an audience, RECLab continues to encourage international co-productions among its attendees. This unique structure not only showcases emerging talent but also facilitates cross-border collaborations that can lead to impactful projects.

This distinctive format promotes open and meaningful conversations surrounding the presented projects, as articulated by former Venice Critics Week head Anette Dujisín, who coordinates Primer Test. “By prioritizing international strategies over quick pitch-style sessions, Primer Test allows participants to engage in deeper, more impactful discussions,” Dujisín noted. “This inclusive and interactive approach enables industry experts to build upon each other’s feedback, resulting in collaborative insights that transcend transactional outcomes such as sales or festival placements.”

Innovative Initiatives at RECLab 2024

Three new initiatives are enhancing RECLab’s mission to foster genuine connections within the film industry. Led by Marika Kozlovska, a consultant from Cinema do Brasil, RECPush is designed to prioritize personal connections, encouraging producers to form relationships beyond their professional roles. This approach cultivates authentic bonds and lays the groundwork for meaningful collaborations, setting RECLab apart from other industry events that often focus solely on projects rather than people. Participants from diverse backgrounds, including Finland, North Africa, the Czech Republic, and Portugal, engage in activities ranging from regional dances to pottery workshops. “This is the opposite of traditional speed dating and is much more human,” García Puerto remarked, emphasizing the festival’s commitment to fostering community.

RECMatch is another initiative that connects indie creators, such as Burnin’ Percebes, with mainstream actors seeking to expand their careers. This year’s participants included Alvaro Cervantes (“Crazy About Her”) and Laura Gómez, a Dominican actress now based in Madre. “We invite the actors and then put out a call for projects, matching them in what one participant described as ‘a reverse casting,’” García Puerto explained. This innovative approach not only broadens the horizons of the actors involved but also enriches the creative landscape of the festival.

Another groundbreaking initiative, RECVision, led by Jana Wolff, brings together international experts in audience-building to brainstorm alongside local project leaders. This collaboration involves initiatives like Granollers’ Young Cineclub Crida Edison, programmed by its newest generation of members; Nadir, an audiovisual workshop for youth led by Eloi Sánchez; Transhumant, an itinerant cinema showcasing films in villages south of the Pyrenees; and Victoria & Savoy, a film program featuring classic and contemporary auteur titles for students in the Ebro region.

“There aren’t many examples of organizations that advise on and enhance projects that engage directly with audiences,” García Puerto noted, highlighting the festival’s unique position in the industry. He further emphasized the importance of understanding audience engagement, stating, “Almost every festival supports new projects and the creation of more films, but that raises a significant question: Who will watch them?”

RECLab 2024 Awards: Celebrating Exceptional Films

Screening Test Award

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

In “Josephine,” which premiered at San Sebastian’s 2021 New Directors strand, Marco made a quietly powerful debut that explored the serendipitous encounter of two isolated individuals, delivered with a meticulously crafted mise-en-scène, outstanding performances, and a thoughtfully composed screenplay. What was showcased at RECLab suggests that Marco is poised to deliver another poignant narrative featuring two self-absorbed characters—a television star interviewer and an internet troll—navigating a treacherous journey 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 the bittersweet journey of Jone as she reconnects with her past love, Olga, while her father’s battle with Parkinson’s disease intensifies. This Basque-language coming-of-age and family drama marks the directorial debut of Bilbao-born Sara Fantova, an ESCAC alum who was specifically chosen to direct three episodes of “This Is Not Sweden.” The film is produced by Escac Estudios, led by Sergi Casamitjana, and Amania Films, headed by David Pérez Sañudo, known 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 formal quality,” Rovira characterizes “Lady Bites Dog” as “one part auteur genre and one part mockumentary.” This unique narrative follows a film crew capturing the daily life of Xia He, a serial killer targeting dog abusers, showcasing Rovira’s inventive storytelling style. Known for his previous RECLab standout “Letters to Paul Morrissey,” Rovira continues to push creative boundaries with this latest project.

Málaga Work in Progress Award

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

Debuted at Sitges’ LadyInFan in October, this film is undoubtedly an “experimental Gothic story,” according to Wagner. Shot in black-and-white with a nineteenth-century lens using an antique camera, it creates a film composed entirely of still images. Set in 1879 and narrated through letters, it tells the tale of a young man who, facing death, is sent to his sister who operates a laboratory utilizing algae for medical treatment. She offers her brother a chance at eternal life, weaving a narrative that blends history, science, and gothic elements in a compelling manner.