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ESCENA. Oslo Ibero-amerikanske filmdager is a platform for cultural exchange between Norway and the Ibero-American region.>>>>> www.escena.no. <<<<<
The festival promotes films from the Spanish- and Portuguese-speaking nations of Europe and the Americas and showcases the vibrant film expressions of these nations.
The films convey social, political, and historical aspects of this cultural context, as well as the challenges currently facing the societies of the region. Even though these nations share a common cultural mainstream, they form a rich tapestry of diverse backgrounds that translate into their cinematic expression.
ESCENA also provides a gathering place and discussion forum for film enthusiasts, for those with roots in the region, and for others who have an interest in Ibero-America.
ESCENA26 presents 14 films by some of the most compelling directors working across the Ibero-American world today, from Spain and Portugal to Argentina, Chile, Mexico and Ecuador.
This year's edition gathers the most recent award-winning cinema from the region. From the historic 2026 Cannes Film Festival — where three Spanish films competed for the Palme d'Or for the first time in over seventy years — we bring two titles from the Official Competition: El ser querido (2026, Rodrigo Sorogoyen), a searing father-and-daughter drama set on a film shoot, with a towering performance by Javier Bardem; and Amarga Navidad (2026, Pedro Almodóvar), the director's twenty-fourth feature, a melodrama of memory, grief and creative block that speaks directly to his own Dolor y gloria.
Alongside them stand the season's most celebrated new voices: Los domingos (2025, Alauda Ruiz de Azúa), winner of the Golden Shell at San Sebastián and the Goya for Best Film; La misteriosa mirada del flamenco (2025, Diego Céspedes), a queer western in the Chilean desert that won the top prize in Un Certain Regard at Cannes; and Sirât (2025, Oliver Laxe), a hypnotic desert road movie awarded the Jury Prize at Cannes.
We turn, too, to intimate stories of childhood, desire and family memory: Seis meses en el edificio rosa con azul (2026, Bruno Santamaría Razo), a tender autobiographical hybrid selected for Cannes Critics' Week, set in 1990s Mexico City; and Anoche conquisté Tebas (2025, Gabriel Azorín), a luminous debut in which a group of young men gather at ancient Roman baths as day turns to confession. From Argentina, Belén (2025, Dolores Fonzi) dramatizes a real case that galvanized a country, following a young woman imprisoned after a miscarriage and the lawyer who defends her.
The programme reaches deep into questions of land, memory and colonial violence with two documentaries: Toroboro: The Name of the Plants (2024, Manolo Sarmiento), which returns to the Ecuadorian Amazon and the Waorani people to name thousands of plants threatened with extinction while reckoning with a history of colonization and extraction; and Tardes de soledad (2024, Albert Serra), the Golden Shell winner at San Sebastián, an immersive portrait of Peruvian bullfighter Andrés Roca Rey. From Portugal, Entroncamento (2025, Pedro Cabeleira), which premiered at Cannes, offers a raw portrait of a stalled youth in a railway town.
As part of our celebration, we mark the 25th anniversary of two turn-of-the-millennium classics that helped define a golden era of Latin American cinema, both released in 2001: El hijo de la novia (Juan José Campanella), the Oscar-nominated Argentine tale of love, memory and second chances, and Y tu mamá también (Alfonso Cuarón), the Mexican road movie whose screenplay earned an Academy Award nomination.
And in a singular event, we present ¡Que viva México!, Sergei Eisenstein's unfinished silent masterpiece — a tableau of Mexican life — screened with a new soundtrack performed live in the cinema.
The festival will once again be enriched by conversations with filmmakers: a screening of El ser querido, introduced by screenwriter Isabel Peña, and a screening of Anoche conquisté Tebas, introduced by its director, Gabriel Azorín.
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