Juanma Bajo Ulloa attacks Spanish film industry censorship
Director Juanma Bajo Ulloa criticizes political correctness in Spanish cinema, citing Escohotado and accusing industry gatekeepers of stifling creative freedom.
English · Original discussion in Spanish · Published
Juanma Bajo Ulloa attacks the 'political commissars' of Spanish cinema
Nearly 60 years old with a career full of ups and downs, Juanma Bajo Ulloa is back in the spotlight. In a recent interview, the director of 'Airbag' cites Escohotado, denounces the 'puppet masters' of Spanish cinema, and lashes out at political correctness that he claims has hijacked the industry. This isn't his first clash with the establishment: during the Goya Awards for 'The Dead Mother', he publicly dismissed the entire guild, leading to doors closing on him ever since.
The interview that stirred up a hornet's nest
In a video circulating since January, Bajo Ulloa details in his direct style how film festivals have shifted from spaces for cinephiles to politically curated events. He quotes philosopher Antonio Escohotado to argue that we live in a perfect dictatorship, where censorship is not explicit but self-imposed. The public response was immediate: within days, the video accumulated thousands of views and peine the debate on creative freedom in Spain.
From box office record to ostracism
Bajo Ulloa is no ordinary figure. In the 90s, 'Airbag' became the highest-grossing film in Spanish cinema history up to that point. However, instead of boosting his career, the success earned him enemies. 'Butterfly Wings' and 'The Dead Mother' complete a filmography that, despite awards, never found support from the industry. His sin: being unyielding. After the Goya incident, subsidies and pre-sales disappeared. To finance his next project, he even mortgaged his grandparents' house.
The business of political correctness
Behind the controversy lies an economic reading. Bajo Ulloa argues that Spanish cinema is hijacked by an elite that distributes subsidies based on ideological criteria, not artistic merit. Those who do not conform to the dominant narrative—whether regarding gender, racial, or content quotas—are automatically excluded. Several analysts agree that Spanish cinema, despite receiving millions in public aid, has lost connection with the audience: theaters are emptying while subsidized productions pile up in catalogs nobody watches.
The question remaining is whether Bajo Ulloa's diagnosis is an exception or a symptom of a broken industry. Meanwhile, his video continues to circulate, and his latest film, 'El mal', has become an act of rebellion.
Related discussions in the forum
Nearly 60 years old with a career full of ups and downs, Juanma Bajo Ulloa is back in the spotlight. In a recent interview, the director of 'Airbag' cites Escohotado, denounces the 'puppet masters' of Spanish cinema, and lashes out at political correctness that he claims has hijacked the industry. This isn't his first clash with the establishment: during the Goya Awards for 'The Dead Mother', he publicly dismissed the entire guild, leading to doors closing on him ever since.
The interview that stirred up a hornet's nest
In a video circulating since January, Bajo Ulloa details in his direct style how film festivals have shifted from spaces for cinephiles to politically curated events. He quotes philosopher Antonio Escohotado to argue that we live in a perfect dictatorship, where censorship is not explicit but self-imposed. The public response was immediate: within days, the video accumulated thousands of views and peine the debate on creative freedom in Spain.
From box office record to ostracism
Bajo Ulloa is no ordinary figure. In the 90s, 'Airbag' became the highest-grossing film in Spanish cinema history up to that point. However, instead of boosting his career, the success earned him enemies. 'Butterfly Wings' and 'The Dead Mother' complete a filmography that, despite awards, never found support from the industry. His sin: being unyielding. After the Goya incident, subsidies and pre-sales disappeared. To finance his next project, he even mortgaged his grandparents' house.
The business of political correctness
Behind the controversy lies an economic reading. Bajo Ulloa argues that Spanish cinema is hijacked by an elite that distributes subsidies based on ideological criteria, not artistic merit. Those who do not conform to the dominant narrative—whether regarding gender, racial, or content quotas—are automatically excluded. Several analysts agree that Spanish cinema, despite receiving millions in public aid, has lost connection with the audience: theaters are emptying while subsidized productions pile up in catalogs nobody watches.
The question remaining is whether Bajo Ulloa's diagnosis is an exception or a symptom of a broken industry. Meanwhile, his video continues to circulate, and his latest film, 'El mal', has become an act of rebellion.
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Summary of a discussion on Burbuja.info - Foro de economía, actualidad y política., translated from Spanish and reviewed before publication. Read the full discussion (111 replies).
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