Associated production companies Grayskull and Primo demonstrate that creativity knows no limits. From the salty emotion of Rabo de Peixe to the psychological vertigo of Vieja Loca, both confirm that the most powerful stories are born when production becomes art.
GRAYSKULL — Stories born from the sea and returning to it
Fiction breathes again with “Rabo de Peixe,” the Netflix series that premieres its second season this Friday under the direction of director and showrunner Augusto de Fraga, from the associated production company Grayskull. A return that transcends the narrative: it is the reflection of a way of understanding creation from truth, emotion, and roots.
For years, Fraga has brought the sensibility of advertising production to the language of fiction, building universes where aesthetics and humanity intertwine. “Rabo de Peixe” not only continues a story but reaffirms how the production companies associated with APCP are capable of expanding their talent beyond the limits of the commercial, inhabiting the frontier between art, industry, and authorial vision.
Like the sea that gives the series its name, Grayskull’s work reminds us that good stories always return to the shore: different, deeper, but with the same force that made them leave.
PRIMO — Fear as a mirror: “Vieja Loca” shakes Sitges
From the darkness that inhabits the everyday, the associated production company Primo delivers “Vieja Loca,” the new film by Martín Mauregui, presented last October 9 at the Sitges Festival. Starring Carmen Maura and Daniel Hendler, and produced alongside J.A. Bayona, Belén Atienza, Ramón Campos, and Gabriela Carcova, the film delves into psychological horror to speak, in reality, of human fragility.
The film is also the result of an international co-production between Spain, Argentina, and the United States, with the collaboration of Amazon Spain, demonstrating that APCP’s production companies not only lead the advertising field but are also an active part of the new languages of contemporary cinema.
The premiere, broadcast live to more than 70 cinemas throughout Spain, was a celebration of the union between technology, art, and emotion. And when Carmen Maura received the Grand Honorary Award, it was not only a recognition of her career but also of the courage of those who continue to make cinema a space to look directly at what we fear most.
Because, in the end, as Primo demonstrates, creating is facing madness—the one that frightens, the one that inspires, and the one that reminds us that we are still alive.
