The 70th San Sebastian Film Festival opens with a gala that echoes the festival’s origins
The night marked the opening gala of the 70thSan Sebastian Film Festival, a moment that looked back to the very first edition staged on September 21, 1953 at the Kursaal Palace. To honor that history, a short reel from the NO-DO archive was shown, reminding attendees of the festival’s long-standing connection to Spain’s cinematic past. Hosts Loreto Mauleón and Paco León then invited a group of women onto the stage. They spoke about their experiences at the gala, describing themselves as dancers who supported the performers and took part in the atmosphere surrounding the screenings. They noted that they were able to attend all festival screenings, even though their participation did not come with remuneration for the work they described.
The venue drew notable figures, including Nadia Calviño, the Third Vice President of the Government, and Miquel Iceta, the Minister of Culture and Sports, alongside a delegation from Turkey. The opening feature, Model 77, was presented by director Alberto Rodríguez. Rodríguez reflected on his personal journey with the festival, recalling his first visit when the program showcased El factor Pilgrim more than two decades ago, a moment that involved a cast led by Miguel Herrán and Javier Gutiérrez and underscored the festival’s ongoing role in highlighting new Spanish talent.
The official jury for this year’s competition was introduced, chaired by Argentine producer Matías Mosteirín, who stepped into the role after the last-minute departure of Glenn Close. The panel also included Antoinette Boulat, a French casting director; Tea Lindeburg, a Danish director; Rosa Montero, a Spanish writer; Lemohang Jeremiah Mosese, a filmmaker from Lesotho; and Hlynur Pálmason from Iceland. In addressing the audience, Mosteirín spoke about cinema’s power to counteract division. He argued that cinema can challenge intolerance by encouraging critical thinking, inviting dialogue, and embracing difference rather than allowing rigid, binary positions to stand unchallenged.
During the gala, musical performances energized the room, with sets lined up by Mikel Erentxun and Rocío Márquez, followed by a number of other acts that kept the mood celebratory. The Critics’ Grand Prix Fipresci was awarded to Ryūsuke Hamaguchi for Drive My Car, a film that would later gain international recognition and an Oscar for best international feature. The win was noted alongside a broader array of accolades collected by the film during the festival season, underscoring its resonance with critics and audiences alike.
The evening’s program reinforced the festival’s dual role as a showcase for Spanish and international cinema and a forum for conversations about the art form itself. The opening gala, with its blend of history, performance, and critical celebration, set a tone for a festival that seeks both to honor the medium’s legacy and to spotlight the contemporary voices shaping its future. The dynamism observed in the crowd, the energy of the performances, and the thoughtful remarks from jury members painted a portrait of a festival that remains deeply committed to dialogue across cultures and disciplines. The event served as a vivid reminder of cinema’s ability to unite audiences through shared storytelling and to challenge prevailing perspectives through thoughtful discussion and diverse representation.