D’A 2024 consolidates its position as a benchmark for Spanish and Catalan independent cinema through its emblematic Un Impulso Colectivo section. Ten feature films will be presented, three of them world premieres, which show the good state of the most innovative cinema made in Spain. The festival will see risky and free proposals from new directors, with works by veterans of underground cinema, the new Spanish cinema that triumphs in festivals or promises of the future from film schools.

It is an honor to once again welcome Marc Ferrer at the D’A – Barcelona Film Festival, a director that the festival has followed since its inception, with Reír, cantar, quizá llorar, a hilarious comedy, but also a musical melodrama, among Fassbinder and Almodóvar, which is also a subversive chronicle of hidden Barcelona. On the Go, a surreal roadmovie directed by María Giséle Royo and Julia de Castro (Poquita fe), in which she also stars alongside Omar Ayuso (world famous actor thanks to Élite). The film, with the collaborations of Dandy Piranha from the group Derby Motoreta’s Burrito Kachimba and the flamenco guitarist Paco Soto, received a special mention from the young jury of Cineasti del Presente de Locarno 2023 and the award for best film and direction at the Gijón Festival . Another kamizake film that will pass through the D’A is La estafa del amor, by Virginia Garcia del Pino, a combative film and a debate about romantic love, with the participation of the writer and journalist Lucía Lijtmaer and the philosopher Josep Maria Esquirol.

From more untamed and free territories, we will receive at D’A 2024 unclassifiable films that demonstrate that Spanish independent cinema is in continuous movement: from Night Work, a beautiful documentary about a migrant community that was the great revelation of FIDMarseille 2023, to Tríptico, surprising debut feature from the UPF, which moves between the B series and the most sophisticated auteur cinema. And more surprising debuts with some of the most original films of the season: Sueños y pan, by Luis (Soto) Muñoz, a contemporary reinterpretation of quinqui cinema; Solo arrojaron, by Adrià Pagès Molina, a road movie with echoes of Gus van Sant; and the mysterious Orandi, cinema of poetic ascription, debut in the direction of a feature film by Serafín Teja.