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How were the beginnings in a time
when there was no culture for
such a platform? Something very
risky at a time when the idea of
offering paid cinema online soun-
ded like madness.
Yes, in 2007, together with José An-
tonio and Jaume, we developed the
idea from CAMEO MEDIA to create
an online service for watching films
on demand. We didn’t receive much
support. The general opinion, both
inside and outside the industry, was
that we were crazy — that no one
would ever pay to watch films online.
Let’s not forget that, at that time in
Spain, 100% of audiovisual content
consumed via the internet was pira-
ted, and there were countless servi-
ces offering links and files to watch
films and series entirely for free. The
idea that, once viewing habits shif-
ted, people would actually pay to ac-
cess catalogues of films and series
was something hardly anyone belie-
ved in.
Filmin combines quality content,
no ads, and excellent image qua-
lity, making it one of the best pla-
tforms for Spanish productions.
In these 18 years, how have au-
dience tastes changed in the au-
diovisual landscape since the first
online premieres of Spanish films
like Bullet in the Head or Oswald,
the Forger?
We’ve gone from renting DVDs at
the neighbourhood video store to
the compulsive consumption of se-
ries and curated film cycles online.
Filmin has adapted by offering not
only films, but also series, thema-
tic collections, and documentaries,
thus expanding the viewer's hori-
zon. We’ve also brought the festival
experience to the public, allowing
audiences to enjoy premieres and
curated cycles from home—events
that were once reserved for a select
few. We’ve backed new narratives,
democratised access to less com-
mercial cinema, and given visibility
to independent projects that used to
fall outside the traditional circuit. All
of this under a curatorial approach
far from algorithms, with editorial
selection crafted for viewers see-
king something different
Ingride Santos and Asaari bibang
After 18 years, what strategies
have you followed to ensure that
a niche platform—focused on
auteur cinema, quality documen-
taries, and carefully curated pro-
ductions—has become a treasure
worth emulating by other audiovi-
sual platforms?
Our commitment to filmmakers and
our clear focus on the viewer.
We’ve never aimed to be a massi-
ve showcase of films; we've always
seen ourselves as a borderless neigh-
bourhood video store, from where we
try to satisfy the viewer by offering an
experience and personalised recom-
mendations, always based on quality.
How did you manage to convince,
nearly 20 years ago, independent
production companies and distri-
butors like Tornasol, Vértigo Films,
Versus Entertainment, Golem, El
Deseo, Wanda or Cameo —althou-
gh the latter was somewhat easier?
The conviction had taken root five
years earlier, when I co-founded Ca-
meo Media with them to distribute
their works in physical formats (DVD
and Blu-ray). We were united by a
shared commitment to independent
cinema, innovation in distribution,
and quality processes, as well as a
common vision for the future. After
the success we achieved with Ca-
meo, it was easy to convince them
to channel resources into something
as disruptive as an online video club,
opening a new path in how people
watch films
CINEMA IN A SUITCASE
How is Filmin’s catalogue of
around 15,000 titles organised?
The organisation, editorial approach
and curation of the catalogue are at
the heart of everything. We don’t rely
on cold, impersonal algorithms—we
place our trust in a human team
that treasures deep knowledge and
love for cinema. An editorial team
that creates thematic collections,
channels, and groupings based on
a wide range of current concepts,
and tags each title with thousands
of labels that encourage users to
explore our catalogue through cul-
tural affinities or simply the desire
for entertainment.
Mariela BesvieVski and Isa Calderón
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