In an era where streaming platforms dictate audience habits and algorithms drive content discovery, film festivals have had to redefine their purpose. No one understands this better than José Luis Rebordinos, director of the San Sebastián International Film Festival since 2011.
Under his leadership, the festival has maintained its status as a global cinematic beacon, bridging industry, talent, and audiences in ways that go beyond mere film screenings.
Rebordinos was at the Malaga Film Festival this week, where he was invited to speak as part of a lineup organized by Spain’s IPG Mediabrands Entertainment, a consulting-led, community-driven group of 18,000 media and marketing specialists in over 130 countries which hosted a full day of industry-focused interviews, roundtables and networking activities.
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IPG has worked with five titles at this year’s Málaga Festival, “Tierra de Nadia,” “The Sleeper,” “Tambien Esto Pasará,” “8” and “Queen of Coal.” Other titles include “Championext,” the highly anticipated sequel to 2018’s multi-Goya-winning film “Champions,” which was Spain’s submission to the 2019 Oscars and later adapted in the U.S. as the “Champions,” starring Woody Harelson.
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During a conversation with IPG’s chief creative officer Alfonso (Poncho) García-Valenzuela, Rebordinos insisted, “Festivals are about encounters. A festival that exists only online is something else entirely. It’s about people meeting, exchanging ideas, striking deals, and engaging with cinema in a way that streaming alone can’t replicate.”
The Festival as a Cultural Curator
According to the two speakers, the fundamental role of film festivals has evolved significantly. No longer just a showcase for upcoming films, festivals now serve as industry incubators, talent scouts, can’t-miss networking platforms and financial hubs. Rebordinos recognizes this transformation, noting that festivals have become essential gatekeepers in an industry overwhelmed by content.
“Curation is more important than ever. There are so many films out there, and festivals help audiences understand what is worth their time. If a film wins an award at San Sebastián, Cannes or Berlin, it signals something to distributors and audiences alike,” he explained.
This role is crucial in the era of streaming, where high-quality films often struggle to gain visibility amid an ocean of content. “Before, if you followed a director, you’d see their entire filmography. Now, some of their work might be scattered across different platforms, making it harder to track their evolution. That’s where festivals come in—to highlight and contextualize important work.”
Carving a Unique Identity
With an ever-growing number of festivals worldwide, differentiation is key. Rebordinos believes that a festival must have a strong, distinct identity to survive. “If you don’t define yourself, you disappear. Cannes has its brand; Venice has focused on American films and streaming platforms; Berlin remains a massive industry hub. San Sebastián, meanwhile, has carved out its niche as the premier showcase for Spanish and Latin American cinema.”
San Sebastián doesn’t just screen Ibero-American films — it nurtures them from conception to completion. The festival’s initiatives span every stage of the filmmaking process, from student film competitions to co-production forums, post-production support and industry networking events. “We want to be a space where a filmmaker can come with just an idea and leave with funding, industry contacts and a pathway to completion,” explaied Rebordinos.
The Relationship with Streaming Platforms
The integration of streaming giants into the festival landscape has been a point of contention, with Cannes refusing to include films from platforms like Netflix in its main competition. San Sebastián, however, has taken a different and more inclusive approach from the very beginning.
“We judge audiovisual content, not production models. Whether a film is from Netflix, Amazon or a traditional studio, it’s the quality that matters,” said Rebordinos. “We’ve had films backed by platforms that later secured theatrical releases because of their presence in our festival.”
He believes festivals can help streaming services see the value of theatrical runs. “For platforms, the best publicity for a quality film is a festival premiere followed by a theatrical release. It builds prestige and buzz that simply dropping a film online doesn’t achieve.”
The Future of Film Festivals
Looking ahead, Rebordinos sees festivals playing an even greater role in industry financing and development. “Public funding for culture is shrinking, and festivals need alternative revenue streams. Entertainment brands and sponsors are no longer content with just having their logos displayed — they want meaningful integration.”
San Sebastián has embraced brand partnerships, working with companies that fund and co-produce high-caliber cinematic projects. “There used to be a stigma around corporate involvement in film. But today, brands are producing compelling stories that transcend traditional advertising.”
As an example, he cited branded documentaries and high-profile collaborations with entertainment brands. “It’s about creating content that stands on its own artistic merit while aligning with a brand’s values. And festivals provide the perfect launch platform.”
The Blurring Lines Between Film and Television
One of the festival’s most notable shifts has been its embrace of television and streaming series, a trend that began at San Sebastián with “The Plague” in 2017. “For us, a series is just another audiovisual work. If it has strong cinematic storytelling, we are open to showcasing it,” said Rebordinos.
Could a television series ever compete for the festival’s top honor, the Golden Shell? “We came close with [Rodrigo Sorogoyen’s] “Riot Police.” I sometimes regret not putting it in competition — it would have sparked a fascinating debate. If a series is directed with a distinctly cinematic vision, why not?”
He also notes that other top-tier festivals, including Venice, have started screening prestige television projects. “The lines between film and TV are blurring, and festivals have to recognize that. Some of the most innovative storytelling is happening in long-form series.”
The Role of New Technologies in Cinema
Beyond traditional storytelling, San Sebastián has taken steps to integrate emerging technologies into its programming. The festival’s Zinemaldia & Technology initiative highlights innovations such as AI-driven filmmaking, VR storytelling and blockchain-based distribution models.
“We knew we couldn’t tackle these topics alone, we’re not experts in any of these fields, so we partnered with leading tech institutions. That’s how you create meaningful discussions about the future of film and storytelling,” said Rebordinos.
Spanish Cinema on the Global Stage
Finally, the conversation turns to the strength of Spanish cinema. “The Spanish film industry is at an all-time high. We’ve never had such variety and quality across so many genres,” said Rebordinos. He points to the presence of Spanish films in major international festivals and awards circuits as evidence of this golden era.
San Sebastián remains committed to elevating Spanish and Latin American cinema while embracing the broader shifts in the global industry. “We support emerging talent, we champion diversity, and we ensure that great films—whether from traditional studios, independent filmmakers, or streaming platforms—find their audience.”
As the film and TV industries continue to evolve, San Sebastián proves that adaptability and a strong identity are key to remaining relevant. Under Rebordinos’ leadership, the festival has become more than just a showcase — it’s an incubator, a networking hub and a vital player in shaping the future of film. As he puts it, “Festivals must keep evolving. The moment we stop, we become irrelevant.”
