The Basque Country has emerged as a premier destination for film and television production, driving significant economic growth in the region. However, this boom has ignited a complex discussion regarding what truly constitutes a “Basque production” in an era of international co-productions and fiscal incentives.
Data from Bizkaia illustrates the scale of this expansion: audiovisual employment climbed by 50.5% between 2014 and 2024, while the number of sector-linked companies grew from 284 to 448. In 2025 alone, the Bilbao Bizkaia Film Commission facilitated 219 shoots, generating an estimated economic impact of €138.1 million ($158.45 million).
Despite these figures, industry leaders disagree on the criteria for labeling a project as authentically Basque. Xabi Berzosa, representing the San Sebastian-based company Irusoin, argues that the legal definition is straightforward. “From a legal standpoint, if a film is produced by a Basque production company, it’s Basque,” he said.
Berzosa acknowledged the nuance of Irusoin’s role as a co-producer on Nanni Moretti’s latest film, “It Will Happen Tonight.” While the project involves Italian and French partners and was shot partly in Italy, Berzosa maintains it is legally Basque due to the involvement of a regional company, even if it does not reflect a purely local creative portrait.
For filmmaker Koldo Almandoz, whose Basque-language feature “The Last Goodbye” premiered at the San Sebastian Film Festival, the definition extends beyond legalities to cultural substance. He emphasized that a true Basque production is defined by “the soul,” encompassing the language, local crews, and cultural intention behind the work.
Almandoz was critical of productions that relocate primarily for tax benefits, describing some international partners as acting merely as “commission agents” rather than genuine creative collaborators. He warned that relying on fiscal incentives creates vulnerability for small local companies that may be absorbed by larger entities or displaced to other Spanish cities if conditions change.
Iker Ganuza, president of the producers’ association EPE-IBAIA and a producer at Lamia Producciones, approached the issue from an industrial perspective. He argued that a Basque production must involve deep-rooted business presence, local decision-making, and the retention of intellectual property within the region.
Ganuza distinguished between servicing international shoots and engaging in co-productions that build long-term industry capacity. While he acknowledged that major international productions boost visibility and create jobs, he noted that much of the future economic value and intellectual property often leaves the region once filming concludes.
Berzosa echoed this distinction, noting that service production helps maintain workforce continuity but does not foster a durable local industry. He emphasized that productions arriving solely for financial reasons are likely to depart when those incentives shift.
Language remains a pivotal, though not exclusive, factor in the debate. Both Berzosa and Ganuza agreed that films created in Euskara carry significant cultural weight, but they cautioned against making it the sole benchmark. Ganuza stated that the region should aim to tell Basque stories to a global audience while also producing universal narratives from within its borders.
Looking ahead, Ganuza stressed that the challenge is not a lack of opportunities but ensuring that growth benefits the companies that built the sector. He called for a strategic focus on the industry’s trajectory through 2030, rather than merely counting the number of shoots, to ensure that international investment strengthens rather than displaces local infrastructure.
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