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Cine español 2012: los mejores resultados en los últimos veinte años para una anémica industria

30 Diciembre 2012 - 17:59 - Autor: lainformacion.com

Casi por vez primera en mucho tiempo, en el año 2012 no se cumplió el conocido axioma de que la cuota de mercado del cine español dependía de si ese año estrenaba o no alguno de sus directores más taquilleros: Amenábar, Almodóvar o Santiago Segura.
El pasado año 2011, Torrente 4, de Santiago Segura, junto con La piel que habito de Almodóvar lograron salvar un pésimo año en el que solamente nueve films españoles fueron capaces de pasar del medio millón de espectadores.
En 2012, y con cifras provisionales aportadas por Rentrak (el Ministerio de Cultura camina con lentitud) el film de Bayona, Lo imposible, junto con Las aventuras de Tadeo Jones (E. Gato) y Tengo ganas de ti (González Molina), no solamente han conseguido salvar los muebles del cine español sino que han impulsado su cuota de mercado (18%) a cifras que no se veían desde el año 1984. Entre estos tres films llevan recaudados unos 70 millones de euros; es decir, más de dos tercios de los 106 millones obtenidos por el conjunto de cintas españolas.
Pero aunque los datos no son nada malos, no podemos permitirnos lanzar las campanas al vuelo. Uno de los principales problemas de nuestro cine es que, aunque se incremente anualmente el número de films producidos, nunca dispone de al menos diez productos capaces de interesar a medio millón de espectadores. Y solo de vez en cuando consigue colocar alguna película entre las diez más taquilleras de ese año.
Tanto es así que, aunque las cifras de producción anual de largometrajes no han cesado de aumentar desde el año 1995, hasta alcanzar una cifra de quince películas por cada millón de espectadores (un porcentaje muchísimo mayor que el de Francia, Italia o Estados Unidos), no por esa sobreproducción hemos logrado consolidar una estructura industrial seria.
Más del 20% de nuestros films no llegan ni tan siquiera a estrenarse en las salas (y un porcentaje sin cuantificar lo hace recurriendo a prácticas no muy ortodoxas), mientras que las recaudaciones medias por film (que parecen haberse perdido de la página web del Ministerio) no pasan de los 40.000 espectadores por película.


Por otra parte, ninguno de los corpus legislativos existentes hasta el momento ha sido capaz de modificar las bases industriales en las que se ha venido sustentando hasta el momento la industria del cine español. Las televisiones continuan siendo –muy a su pesar, según parece- los principales sustentadores del cine español, puesto que un 80% de las empresas productoras participan únicamente en una película al año, y no más de un 5% del total de títulos estrenados, con participación española, son los que, a la postre, consiguen la mitad de la recaudación total y del número de espectadores.
Pero, siendo positivos, podemos señalar también que si en la década de los noventa, la cuota de mercado del cine español se movió entre el 7,1% (1994) y el 14,3% (1999), ya en el siglo XXI, oscilaba entre el 10% y el 17,8% del año 2001. Por tanto, si las cifras definitivas de 2012 se aproximan al 18% de cuota total, habremos igualado o superado la cifra mágica del año 2001, o incluso las de comienzos de los ochenta.
Como señalaba esta misma semana, el director de lainformacion.com, algo se mueve en el cine español. Al menos, un deseo mayor de internacionalización de algunos directores y productores. La globalización creciente del audiovisual en todos los mercados ha permitido un crecimiento importante, que, tal vez permita definir un escenario de futuro más optimista, tanto en el plano industrial como en el cultural, y, por extensión, para una parte nada desdeñable de la industria audiovisual española.
José Vicente García Santamaría

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