On Thursday, March 16, a heated session unfolded as the lawmakers debated a draft law on cinema and audiovisual culture. The proposal faced broad opposition from parliamentarians across parties, with the exception of abstaining members and supporters of Vox who stood apart from the majority, challenging the measure and the broadcast’s direction.
The debate saw sharp exchanges, especially from nationalist and pro-independence factions, who directed strong criticism at Vox. The discussion touched on concerns about ideological indoctrination, language diversity, and the allocation of subsidies to the audiovisual sector, with many voices arguing that the text carried nostalgic undertones rather than practical reform.
Culture and Sports Minister Miquel Iceta defended the cinema law, arguing that updating the 2007 framework was essential to meet the industry’s current demands. He described the regulation as a cornerstone for strengthening the audiovisual sector, highlighting its richness, complexity, and dynamism. He emphasized that the field remains a major source of employment and wealth, and that the law would help advance the industry both domestically and internationally.
Iceta asserted that the new rule would promote Spanish audiovisual production abroad while also reinforcing the support system for independent projects. He stressed that the government would avoid confusing value with price, supporting large-scale productions while still enabling riskier, independent ventures. He raised a metaphor about a public museum accepting a range of artists, noting that culture involves risk and that the ministry’s mission is to keep culture accessible in all its forms.
Vox MP José Ramírez spoke in support of an amendment aimed at reshaping the model further. He expressed being surprised by films that receive substantial subsidies yet perform poorly at the box office, criticizing some beneficiaries for allegedly insulting their audience and arguing that the current audiovisual management model, shaped by the PSOE and supported by the PP, leans toward political militancy rather than artistic merit. He described the public money spent as wasteful and difficult to justify, calling for a major philosophical shift when a new cinema law was introduced, something he felt had not occurred. He warned that current spending patterns risked wasting resources and limiting future opportunities for the sector.
The discussion also criticized the government for excluding independent production companies and aligning more closely with large national audiovisual firms, a move seen as undermining diversity within the industry.
In relation to linguistic diversity, a Vox spokesperson warned that the policy might promote a cinema that even actors’ relatives would not watch. He cited examples of films produced in minority languages, Aramaic, and Latin that achieved notable success, while predicting that most future productions would favor languages already championed by the law. He referenced a title like La Piedad and argued it signified the potential for wide reception when minority languages are pursued, though he warned of a broader tendency toward language prioritization.
Most of the other parliamentary groups agreed that the Film Act is a necessary framework for the industry, though they acknowledged room for improvements. Socialist MP José Losada criticized Vox’s amendment as overly restrictive and noted that the text should continue to be anchored in freedom of expression and pluralism. He highlighted the late Carlos Saura as a figure worthy of reference in discussions about cinema culture, saying the current legislature would be seen as a cultural one. He also pushed back on the notion of ideological impositions, countering that censorship from past eras should not be repeated in present debates.
PP MP María Soledad Cruz characterized the rule as not overly ambitious but in need of enhancement. She urged simplification of procedures and better coordination to pave the way for professionals, arguing that updating the 2007 law is necessary if done thoughtfully. She advocated the intertwining of the General Audio-Visual Law with this reform to position Spain as a hub for audiovisual production, asserting that a robust framework could elevate the sector and attract investment.
From Podemos, Pedro Antonio Honrubia described Vox’s proposed change as a reckoning with Spanish cinema, pointing to ideological tensions within the sector. He argued that the disagreements reflected deeper conflicts and urged the seriousness of the reform, suggesting that the alternative was not credible.
ERC’s Joan Margall Sastre speculated on how Vox cinema might look if the party were in power, imagining possible casting choices that highlighted stylistic and ideological contrasts. The comment underscored concerns about the direction Vox would take with cultural narratives and public storytelling if given greater influence.
EH Bildu’s Mertxe Aizpurua warned that Vox tends to view cinema as a tool for propaganda and division. He argued that the party would rather have films depict sterile narratives than complex, multifaceted stories. He recalled past censorship periods and framed the debate as part of a broader struggle over culture, liberty, and how history is told, noting that certain terms were eventually removed from the session diary at Vox’s request.
PNV MP Joseba Andoni Agirretxea described the law as an attempt to address unresolved issues from earlier regulations, while recognizing ambiguities such as production agreements with other countries and uncertainties facing independent producers. He asked which definition would apply in the new framework, signaling the need for clarity and consistency across the law.
Ciudadanos representative Guillermo Díaz criticized the subsidy criteria as lacking adequate consideration, calling the allocation of funds in some cases abnormal. He cautioned against overemphasizing non-Spanish languages to the point of confusing cinema with quotas, suggesting that prioritizing certain genres over others could distort the creative balance in favor of simplistic choices rather than nuanced storytelling.
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