L.A. OLA is a showcase of the best contemporary independent cinema from Spain in Los Angeles and NY. The Spanish filmmaking scene is emerging as one of the most fertile and successful in Europe with a new generation of young Spanish filmmakers who are winning great acclaim at prestigious international film festivals such as Locarno, Berlin, Rotterdam and Cannes. L.A. OLA aims to create a bridge between countries and give exposure and distribution opportunities to all these extraordinary films.
After two L.A. editions, L.A. OLA hit the East Coast at the prestigious Anthology Film archives. Mimosas, which won the Grand Prize at the Cannes Critics’ Week 2016, was the closing film for both LA and NY. Besides the screenings, L.A. OLA offered further activities such as Q&As, music performances and master classes and added a new venue: The Rooftop Cinema Club at The Montalbán in Hollywood.
AC/E supported the participation of the directors for the screening of the Spanish films: Les Amigues de l’Agata, Mimosas and Esa Sensación. The three films were screened as part of the L.A. OLA 2017 programme and were accompanied by a short film in Los Angeles and NY at the abovementioned venues.
The choice of participants was based on the filmmakers’ availability but also on relevance and potential benefits of an US screening.
After two L.A. editions, L.A. OLA hit the East Coast at the prestigious Anthology Film archives. Mimosas, which won the Grand Prize at the Cannes Critics’ Week 2016, was the closing film for both LA and NY. Besides the screenings, L.A. OLA offered further activities such as Q&As, music performances and master classes and added a new venue: The Rooftop Cinema Club at The Montalbán in Hollywood.
AC/E supported the participation of the directors for the screening of the Spanish films: Les Amigues de l’Agata, Mimosas and Esa Sensación. The three films were screened as part of the L.A. OLA 2017 programme and were accompanied by a short film in Los Angeles and NY at the abovementioned venues.
The choice of participants was based on the filmmakers’ availability but also on relevance and potential benefits of an US screening.