In an industry where millions watch films and television daily, cinema plays a pivotal role in reflecting facts and driving social change. Climate change, biodiversity loss, and the quiet emergence of environmental concerns can appear in the background, yet they shape public perception in powerful ways.
Recognizing this responsibility, Portocabo, a Galician production company behind series such as Rapa and Hierro, together with the European Climate Foundation (ECF), launched a pilot program to train screenwriters on climate storytelling. The goal is not merely to lecture audiences but to illuminate problems like the climate crisis in a way that feels real and worth caring about.
As Miriam Zaitegui, director for Spain at the ECF, explained to EFEVerde, the traditional climate narrative has often leaned toward collapse and eco-anxiety. The program aims to broaden the storytelling palette, showing futures that are both possible and desirable rather than presenting climate threats as an inevitable doom. The purpose is not to preach to those who already care or to dictate actions; it is to deepen awareness and help people grasp what is unfolding in the world around them.
The approach takes climate responsibility off the explicit “topic” shelf and places it inside the fabric of entertainment. It exists within the industry as a matter of responsibility and realism, showing the truth of modern life without forcing a didactic stance.
A key aim of awareness-raising is to achieve a genuine, practical resonance. The project seeks to nudge people toward recognizing the reality at hand, beyond mere recognition, so that climate issues begin to inform everyday life. A compelling twist might be a hospital’s machines failing during a heatwave, a scenario that could plausibly affect viewers themselves.
leading movements
Portocabo’s Content Director, Nina Hernández, argues that productions should mirror the social forces that drive change. Since cinema began reflecting life as it is, it has tried to portray movements such as climate action, gender equality, and inclusion with honesty.
Recording scenes in Salamanca illustrates how the industry aims to normalize these topics, making them feel like part of everyday reality rather than distant concepts. Hernández points to Hierro’s Nico, a child with cerebral palsy, as an example of presenting a broader reality that diverges from what is often shown in crime dramas.
Understanding these facts and weaving them into cinematic storytelling is essential. Portocabo works with Climate Spring, a British NGO that specializes in climate-focused media, to bring an ecological lens to audiovisual production. The collaboration helps writers identify opportunities to embed climate themes at multiple levels, from major plot points to subtle background details or character-driven moments that enrich an existing story without disrupting its flow.
Screenwriter Carlota Dans notes that the organization helps identify gaps and reveals small opportunities to include climate elements. Their guidance brings a valuable depth to projects that might otherwise overlook environmental context. The aim is not to force climate into every scene but to let it emerge as a natural facet of the narrative world.
Inclusivity and climate awareness are not separate goals. In practice, the project acknowledges that while gender equality and environmental concern are in the writer’s personal experience, translating climate realities into plot can be challenging. The guidance helps writers integrate ecological considerations in ways that feel authentic rather than didactic, much like handling a crime or forensic subplot with credibility.
corporate responsibility
Hernández revealed a forthcoming co-production with Germany, set in the Canary Islands, featuring an oil platform and a green hydrogen project with offshore wind farms in the backdrop. The collaboration probes how corporate responsibility intersects with energy development and environmental stewardship.
The producers are looking at how energy companies manage cleanup, decommissioning, and recycling of offshore installations, and how these practices should be modeled responsibly on screen. The dialogue seeks to deepen the audience’s understanding of corporate roles in environmental management and the broader social implications of energy choices.
The industry’s aim is to tell stories in ways that audiences embrace rather than resist. Hernandez emphasized that climate topics should appear organically, allowing viewers to absorb lessons through narrative rather than through a heavy-handed sermon. Zaitegui added that climate change already touches every facet of life, making it a versatile theme that can be woven into many genres and formats across platforms and networks.
There is growing demand for climate-centered content across the screen that resonates with diverse audiences. The collaborative effort invites producers to unite and respond positively to the climate challenge through shared expertise and creative experimentation. The pilot program also serves as a training resource, compiling the lessons learned so future productions can benefit from this experience and help other writers and studios integrate climate storytelling with greater ease.
In short, the film industry is moving toward responsible climate coverage that feels natural and accessible. The goal is to educate and inspire without sensationalism, allowing audiences to draw meaningful conclusions from stories that reflect real-world complexity. This evolving approach demonstrates that climate awareness can be a constant presence in entertainment without sacrificing entertainment value, ultimately contributing to a more informed and engaged public.