The Generalitat Valenciana's decision to grant five million euros in direct aid to Sol Films 2026, a producer associated with Disney for the live-action filming of Enredados, has sparked a tsunami of criticism within the Valencian audiovisual sector. This special purpose vehicle company, linked to Anima Stillking Films, recently moved its fiscal address to the public studios of Ciudad de la Luz.
Since the announcement of the filming, it was rumored that Disney's choice of Alicante would not come for free, but the confirmed figure has exceeded all expectations. This situation has united all the producer associations in the Valencian Community, who consider the aid a "direct attack" on the local sector.
The aid to Enredados has become a symbol of the tension between the network of producers and the regional administration. Firstly, the magnitude of five million euros is put into context: the production aid line of the Valencian Institute of Culture (IVC), which dozens of projects compete for, is endowed with a total of 6.7 million euros, with a maximum contribution of 500,000 euros per project, ten times less than what was granted to Enredados. Furthermore, the "chronic dysfunctionality" of the IVC is criticized, making the aid insufficient and difficult to manage.
Usual public aid requires productions to have a 150% impact of the subsidy received on the Valencian business fabric. In comparison, the aid for large filming projects from the Conselleria de Innovación, announced since 2023, has six million euros for six productions, meaning a maximum of five times less than the aid for Enredados, and through competitive and transparent calls.
The consulted associations will demand that the real impact of the filming in the Valencian Community be audited and justified. The Generalitat defends the subsidy, claiming an estimated direct investment of 40 million euros, an aggregated economic return of between 80 and 120 million, 2,500 planned hires, and a media return of up to 600 million. However, sector sources consider these figures "fictitious" and "absurd," pointing out that the filming might only last 10 days in the Community, with a large part of the production in Tarragona and Girona, or even in France.
Producers such as Avant, Avapi, and Alicante Audiovisual express their lack of knowledge about the filming and the lack of transparency in the figures. "We don't know where they get them from and we want them to prove it," states Manuel Galipenso. The feeling of being overlooked and the lack of impetus for public policies for the audiovisual sector is particularly galling for Alicantinian companies, which denounce the lack of continuity for professionals and few opportunities for local companies despite being located at Ciudad de la Luz.
Furthermore, the trauma of the closure of Ciudad de la Luz in 2012 by the European Union due to unfair competition is recalled, and there are fears that this direct negotiation without competition could constitute a similar illegality. The Cluster of Audiovisual Production and Services of the Valencian Community, represented by Kiko Martínez, calls for policies to focus on making the Community a reference film set, not just on saving Ciudad de la Luz, and demands training projects, an effective film commission, and aid that is not limited to Ciudad de la Luz.
Gloria March, president of the Valencian Academy of Audiovisual, emphasizes the importance of international film shoots benefiting local companies and professionals, and urges for transparency. The sector's unanimity in the face of this scandal anticipates a highly critical statement regarding the Consell's "erratic policies." "There is no plan, no strategy, no dialogue," state the interviewees.
Miguel Molina, from PAV, calls for responsibility, increased aid, and a clear strategy, denouncing "silence in response" for three years. The development of a strategic plan for the audiovisual sector for the period 2026-2030, prepared by PricewaterhouseCoopers, does not calm spirits, as it is feared to be a "Bienvenido Mister Marshall" (a reference to a failed aid plan). The lack of budget and investment from À Punt exacerbates the discouragement. Rafa Molés, president of Avant, concludes that this decision is "a mortal blow to the credibility of the Valencian audiovisual sector," projecting an image of inability to manage its own resources while Disney receives five million without involving the Valencian fabric.
