The Spanish ‘Robot Dreams’ ‘Jasmine & Jambo’ Top Quirino Awards

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At the seventh edition of the Quirino Awards, an annual event dedicated to promoting animation in Spain, Portugal and Latin America, Spain won five of the ten prizes on offer. Housed at the Teatro Leal, in Santa Cruz de Tenerife in the Canary Islands, an eclectic and sometimes musical gala closed the joyful Quirino Awards.

Pablo Berger’s first foray into animation, the Oscar-nominated ‘Robot Dreams’, continued its success, winning awards for best feature and sound design. The film, which first screened in Neon at Cannes last year, has received almost universal critical acclaim, as described by Variety as a ‘sweetly sad buddy movie’.

For the second year in a row, the best series went to the Spanish “Jasmine & Jambo – Season 2” by Silvia Cortés. The series’ protagonists Jasmine and Jambo are obsessed with music and live in Soundland. The series educates effortlessly through music-infused plots for children, produced by Catalan company Teidees Audiovisuals in co-production with Corporació Catalana de Mitjans Audiovisuals. It remains a pleasure.

Brazilian Marcus Vinicius Vasconcelos won the short film for ‘Lulina and the Moon’. Lulina, a young girl, struggles with the fear that can come from the impending arrival of a sibling into the world. Her drawings of these fears come to life and show in a beautifully Jungian way that they are not so frightening after all.

Stop motion rose to the occasion, with Colombian-Belgian Paola Cubillos’ ‘The Leak’ winning best school short film. In it we have no words or time: a woman folds clothes, a girl hides, and the routine repeats, but they only see each other when a water leak underlines their shared presence in this almost Samuel Beckett-esque piece. Cubillos, supervised on this project by Annecy winner Emma De Swaef (“The Magnificent Cake”), is a talent to track down.

Chilean Oscar winner Gabriel Osario (“Bear Story”) took home best commissioned animation with the Punkrobot and Lucasfilm-produced episode “In The Stars” of Disney+’s “Star Wars Visions” series. “She [Lucasfilm] gave us complete freedom; they really wanted us to tell our story and do our own thing,” Osorio said Variety.

The Quirino Awards are named after Italian-Argentine animation pioneer Quirino Cristiani, who created the first ever animated film. It was fitting that his grandson and great-granddaughter were presented with an honorary recognition award.

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Led by the global recognition of Pablo Berger’s ‘Robot Dreams’ and boosted by strong performances at this year’s Quirinos, Spain continues to grow as an entertainment hub.

It begs the question: why? Six tips, announcements and trends from Quirino:

Spain, an animation power to be reckoned with

Spain is positioning itself as an animation heavyweight, supported by strategic regional and national policies that channel incentives and substantial financing to the sector, an integral part of the country’s audiovisual policy. This investment strategy has led to significant growth in animation, a fact highlighted when Spanish productions secured half of the awards offered. This improvement is supported by increasingly generous tax breaks, now up to 54% in the Canary Islands, together with specialized audiovisual programs that vary regionally. This support significantly increases the quality of Spanish animation, reflecting its growing influence on the international stage.

Spain’s animation sector is claiming more global accolades and tonight’s awards reflect that. However, the tax incentives show a preference for foreign co-productions, which have easier access to labor rebates, while Spanish production benefits from tax credits.

Regions such as the Canary Islands and Bizkaia further enrich the pot, with credits of up to 70% in the Basque province and ceilings of up to €18 million ($19.4 million) per TV episode in the Canary Islands, making these areas particularly attractive for international projects. . The emerging industry is being boosted by regional support, but the current framework could penalize more ambitious Spanish productions, potentially hindering homegrown innovation and risk-taking towards high-budget animation.

Producers also need support

An executive producer residency was announced at this year’s event. This residency, planned for the inaugural session in Tenerife in May 2025, aims to strengthen co-production and co-development ties in Spain, Portugal and Latin America. “We want to have a mix of senior producers with younger, talented producers. We want to provide a place where they can exchange ideas, share concerns, fears, etc.,” said Jose Luis Farias, executive producer of the Quirino Awards. Variety. The program will cover a broad spectrum of crucial topics, from financing and technological innovation to mental health in the animation workspace. “Are [mental health] It is currently a problem in our sector that sometimes you have problems with, and you don’t know how to deal with it,” Farias emphasized. Endorsed by the Council of Tenerife and the Annecy International Animation Film Festival, the residency builds on Quirino’s mission to tackle industry challenges and strengthen collaboration networks year after year.

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RTVE encourages animation

Further support came from Spanish public broadcaster RTVE, which launched the RTVE-Quirino Talent Award, offering emerging talent a €25,000 ($27,000) prize for developing short film projects that could be expanded into series or feature films. The award focuses on Spanish producers who collaborate with Ibero-American talents and underlines RTVE’s growing commitment to animation. The winner will premiere on RTVE and at the 8th Quirino Awards in May 2025. In addition, RTVE announced a partnership with the University of Salamanca to improve a master’s degree focused on the commercialization and marketing of audiovisual content for children and young people.

Collaboration with pub broadcaster

Mutually beneficial cooperation was the order of the day at the third meeting of Ibero-American public television stations, organized by RTVE. These included Canal IPe (Peru) and TV Cultura (Brazil), who came together to discuss programming, acquisition and co-production strategies for animated content. Incentives and strategies may sometimes differ, but the benefits of collaboration far outweigh the risks and there was broad agreement on the security benefit of collaboration. This year they introduced something new: presenting projects and series from each station. It is a strategic alliance that hopes to increase the quality and reach of animated programs in the Ibero-American region through the budget boost that certain co-production partnerships can provide.

Innovation or better failure

Last year, the Ibermedia Next Fund awarded 14 innovative projects that were present this year to share their successes and shortcomings. Many were very ambitious and the bar set was ‘innovative’. One such project was ‘Urke’, a collaboration between Spain’s Bígaro Films and Aupa Studio and Mexico’s Sísmica Studio. “What we proposed was ambitious and experimental. As you can imagine, bridging the gap between traditional 2D workflows and VR has several technical and artistic hurdles. Using AI and programmatic innovations, we are building toolsets that help remove some of that friction, allowing audiences to revisit and explore some of the elements that go unnoticed once the show is over,” said Sísmica Studios CCO and producer Asdrubal Rivera. shared. “Our research to date has focused on what is most likely to succeed or teach us enough to contribute to advancing these technologies. The support of Ibermedia Next has allowed us to innovate on a scale that would not have been possible if we had done it alone. This has been a tremendous blessing for us.” he concluded.

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Co-production and politics

It was clear that geopolitics is an important point of attention. While Uruguay and Brazil are seeing an increase, Argentina and Mexico fear a decline. The cyclical shift from political goodwill to animation and culture in general can be accommodated, or at least mitigated, by closer cooperation between countries across Ibero-America. European money linked to more projects in Latin America, and vice versa through co-productions, creates a small but crucial buffer for any country that has to defeat a government that is short-sighted about the value of supporting diverse cultures.



“Robot Dreams,” (Pablo Berger, Spain, France)


“Jasmine & Jambo – Season 2,” (Silvia Cortés, Spain)


“Lulina and the Moon,” (Marcus Vinicius Vasconcelos & Alois Di Leo, Brazil)


“The Leak,” (Paola Cubillos, Ecuador, Belgium, Colombia)


“In The Stars,” (Gabriel Ocorio, Chile, USA)


“All the best,” (Pablo Roldan, Argentina)


“The many pieces of Mr. Coo”, (Nacho Rodriguez, Spain)


“Sultana’s Dream,” (Isabel Heguera, Spain, Germany)


“Cold soup”, (Marta Monteiro, Portugal, France)


“Robot Dreams,” (Pablo Berger, Spain)

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