Two creators from Spain’s cinema scene unexpectedly found themselves sharing a nomination. Pilar Pérez Solano, a documentary filmmaker from Alicante, and Cristina Rodriguez, a costume designer from Benidorm, both stood at the same crossroads: the presidency of the film academy. The impetus came from the cinematographer Theresa Medina, a call that inspired them to step forward and defend the profession across all disciplines. Their campaign motto is simple and bold: I am also a cinema. Should they be chosen on June 4th, the Film Academy will count two state vice-presidents among the four candidates who seek to replace Mariano Barroso.
They present what they call an atypical practice—no actors or directors among them, yet they are among the best known. Pérez Solano, who has earned a Goya, notes that the dynamic arose because three professionals believe in a dream-driven, participatory approach. In 2014, they helped open the academy to all specialties, emphasizing participation over presidential authority. They want a system where different voices are heard and where the process reflects how film work is done in practice, not just in theory.
Rodriguez, who has been nominated for Goya six times, adds that she has long felt underrepresented within the academy. While acting and directing often lead discussions, she argues that teamwork and the high quality of technicians deserve a louder, more central voice. The duo frames their platform as a public-oriented rescue: education, renewal, decentralization, and international reach form the core of their program.
Protecting cinema is a shared priority. Pérez Solano stresses that theater attendance is dipping and that the industry must actively invite new audiences. The aim is to bring cinema to schools and to extend film education to young people so that the next generation grows up with a cinematic culture. The goal is to transform cinema from a passive pastime into an active social practice, with analysis and works that invite people to engage critically with moving images.
They acknowledge the abundance of festivals, yet emphasize that people still need to go to theaters. The argument is that understanding cinema’s social benefits can drive public engagement and participation, turning premieres into more than just events. They envision a decentralized academy where events, seminars, and film forums can occur across Spain, ensuring access for members wherever they are.
International collaboration matters to them. They advocate stronger ties with European and American film academies, arguing that a global dialogue helps promote both the films produced and the professionals behind them. The defense of creative freedom sits at the heart of their platform. Rodriguez points to a broader message: Spaniards are confident in their craft, and an outward-facing cinema helps the country’s art travel beyond its borders.
In interviews, Pérez Solano and Rodriguez reference a contemporary cultural identity that prizes openness and collaboration. They do not frame their candidacy as a feminist flag but acknowledge that all three prominent figures in their circle are women. Their perspective is practical: they are not melodramatic heroes, simply committed professionals who want to change how the industry functions. They emphasize renewal, a new look at governance, and a different lens on leadership.
Their bid comes with a belief in renewal and a differentiated view of cinema’s future. They see their strength in offering a fresh perspective while continuing to honor the craft’s technical excellence and collaborative spirit.
City of Light: an opportunity on the horizon
News of the Ciudad de la Luz studios reopening in Alicante resonates strongly with them. They view the complex as a potential engine for the regional and national industry. Pérez Solano has steered the academy’s studies board and remains closely involved with European collaborative projects, highlighting the international dimension of their agenda.
Pilar Pérez Solano: The City of Light will not end with auctions
She expresses a hopeful ambition to expand and operationalize the complex by June, turning it into a catalyst for Alicante, Valencia, and the wider Spanish film industry. The site is described as invaluable, with numerous industry conversations underway to determine the best governance and management plan. Rodriguez references her experience shooting on Spanish soil and calls Spain a prime global set, underscoring the country’s appeal for international productions.
Both Pérez Solano and Rodriguez downplay any notion of intra-candidate rivalry. They stress collaboration, humility, and pragmatism over heroics. Their shared stance is that cinema should be embraced as a national asset, not as a narrow specialty. They acknowledge competition from three other projects but insist they bring a renewed vision—one built on inclusion, innovation, and a more evenly distributed access to opportunities.