Training

Inés Segura Romagosa was born in Houston 1979 and studied Audiovisual Communication in Barcelona. She started working in television, but at the age of 20 she immersed herself in the world of advertising production. With 22 years of experience in the industry, she has now been Executive Producer at Primo for 4 years.

Previously she worked at Agosto for 9 years and at Blur. Since she was very young, it was clear to her that she wanted to work in advertising production. At the age of 6 she did her first advertising campaign as an actress and after many shoots in front of the camera she knew she wanted to be behind the cameras.

Juana Jiménez was born in Bogotá and has lived in Madrid for years now. She is a director of photography because she has always been fascinated by light and because she is one of those people who thinks in images. She likes practically all stories that can be told, music, books and painting. He also enjoys working in a team and filming.

He has been working in advertising for more than 10 years, with main Spanish production companies (where he has worked since her beginnings with the production company CANADA) and some South American companies; for clients such as Movistar, El Corte Inglés, Orange, Vodafone, Siemens, Mango, SFR, Mastercard, among others. She has also worked on short films, documentaries and a long list of music videos for artists such as Najwa Nimri, Marlango, Chistina Rosenvinge or Russian Red.

She studied Image and Sound at the Complutense University of Madrid (1998) and graduated from the ECAM in Cinematography (1999).

With a PhD in Audiovisual Communication from the Complutense University of Madrid, with a thesis on the German filmmaker Werner Herzog, Beatriz Navas has developed her career as a cultural manager and audiovisual researcher. She has been curator of the audiovisual program The Artist's House at the Villa Stuck Museum in Munich.

Since 2008 she was responsible for the audiovisual department of the contemporary culture center La Casa Encendida and from 2014 to 2017 also responsible for the performing and audiovisual arts area. There she coordinated the programming of music, film, dance, scenic and activities for children and family audiences, betting on new formats that serve to reflect on digital culture and the audiovisual medium in all its forms, formats, uses, abuses and potentialities, as well as promoted projects aimed at addressing the gender gap in the cultural sector. These include initiatives such as the Princesas y Darth Vaders Festival, She Makes Noise, De Salonnières or Girls on fire!

She has also published the book Y ahora, lo importante, written articles on audiovisual creation, given courses and conferences, and participated as a jury member in different audiovisual competitions. She is co-founder of the online platform of avant-garde and independent cinema PLAT and General Director of the Instituto de la Cinematografía y las Artes Audiovisuales of the Spanish Ministry of Culture and Sport.

Graduated in Information Sciences in 1996, since then she has worked in numerous production teams, making her first film as a production manager in 2003. Her last production was completed in October 2021 and she is currently involved in the development of different projects.

Manuela Ocón has combined this professional activity with research and teaching. In 2017 she defended her doctoral thesis at the University of Seville analyzing the use of time in relation to gender inequality in managerial positions in Spanish fiction production, and since 2019 she is part of a research group on this topic at the University of Malaga.

She is a founding member of the Andalusian Film Academy, a member of the Academy of Cinematographic Arts, of the CIMA and AAMMA associations and a member of the board of directors of APPA. Asociación De Profesionales De Producción Audiovisual. She has also been nominated three times for the Goya Awards and has been awarded for her research work in the field of film with the ASECAN 2021 Award for the best film book.

In 1992 she began her career in the video game world as product manager at Proein, becoming general manager in 1999, after the international launch of the video game Commandos in 1998. At Proein, as head of the company, she signed exclusive distribution agreements with companies such as Eidos, Square Enix, Capcom, Activision, Take2, 2K, Codemasters, etc.

In 2008 she joined Ilion Animation Studios and Pyro Studios, working as COO on projects such as the animated film Planet 51, which opened the doors of animation in Spain. In addition, Planet 51 won the Goya Award for Best Animated Film in 2010.

In 2013 Mercedes Rey moved to his current position. U-tad has become the university center of reference in Spain for the study of careers related to the digital industry.

In 2021 she is the vice-president of Pixel Cluster Madrid, an association focused on the industrial and technological development of the Animation and VFX sector. 

Isi Cano Pérez is a member of the representative team of FemDevs: Asociación de Mujeres Desarrolladoras de Videojuegos. She teaches video game development, multimedia design and robotics. She also coordinates the Girls Make Games workshops in Spain.

UX designer and illustrator, Isi investigates the influence of the artistic avant-garde of the twentieth century in video games in her doctoral thesis. Creator of videoludic pictorial projects such as De la pantalla al lienzo: una mirada pictórica a los videojuegos, Pixel to life and Painting Japan Square, she currently runs a retro videogames section in Terebi Magazine podcast.

Concepción Cascajosa explains that she has "always" been a "couch potato". She studied Audiovisual Communication at the University of Seville, where she graduated and received her PhD with Extraordinary Prize in 2005. A year later, after an international scholarship, she joined the Department of Journalism and Audiovisual Communication at the Carlos III University of Madrid, where she has been a Full Professor since 2012. In 2021 she took over the direction of the department.

From 2014 to April 2021 she was Vice-Dean of the Double Degree Journalism and Audiovisual Communication and has also directed the Master in Film and TV Scriptwriting UC3M / ALMA.

She has been Member of the Equality Commission of the UC3M and of the Academic Commission of the Master in Applied Media Research and is co-author with N. Martinez of the UC3M's guide to image treatment in equality.

Author of several books on audiovisual media and fiction series. She has collaborated with Serielizados, Fotogramas, El País and Fuera de Series Media.

In July 2021 she was appointed President of the Observatorio de Igualdad de RTVE and currently is Professor of Audiovisual Communication and Director of the Department of Communication at Universidad Carlos III de Madrid.

Carmen Domínguez Penelas holds a degree in Information Sciences from the Complutense University of Madrid and began her work in television at TVE. In 1990 she joined Antena 3 as assistant to the Entertainment Programs Manager, being later Deputy Director of Fiction Programs and in 1996 she returned to TVE as Director of New Projects and International Co-Productions. At Vía Digital she was Director of Premium Channels and between 2000 and 2006 she was Vice President of the Television Academy. 

Later she entered the world of production as Program Director at BRB Internacional, as Content Director at Grupo Ganga and as Managing Director of New Atlantis, within Grupo Secuoya. She is currently General Director of the production company Mykado Media Productions.

Como productora cinematográfica, entre sus últimos proyectos destacan Las Niñas, ópera prima de Pilar Palomero que se estrenó en febrero 2020 en la Berlinale, recibió numerosos reconocimientos  (Mejor película en el festival de Málaga, Mejor película premios Forqué, Mejor película, Mejor dirección novel, Mejor guión original y mejor dirección de fotografía en los Goya) además de ser un éxito de crítica y de público. Este mismo año ha estrenado también la película Uno para todos que se estrenó en el festival de Miami, y ha recibido también el premio Forqué a valores y educación. Esta es la segunda película del director con quien ya produjo  B, de Bárcenas, ópera prima de David Ilundain, Premio Feroz Especial 2016; Anteriormente ha producido Verano 1993, película dirigida por la debutante Carla Simón, escogida por la Academia de Cine para representar a España en los Oscar 2018 y premiada en la Berlinale 2017, donde recibió el Premio a la Mejor Ópera prima; el cortometraje Los desheredados, de Laura Ferrés, que ganó los premios Goya y Gaudí en su categoría, y fue galardonado en la Semana de la crítica de Cannes 2017 o GreyKey de Enric Ribes, que ganó el Premio a Mejor Cortometraje documental en el festival de Málaga y  Documenta Madrid  2019.

Recientemente ha terminado el documental La flota de las Indias, de Antonio P. Molero, el cortometraje Sine die de Camila Moreiras, está trabajando en los nuevos proyectos de Alex Lora, Pilar Palomero y Enric Ribes, y ha sido elegida presidenta de la asociación de productoras de ficción ProFicció. 

María Luisa Gutiérrez es productora y empresaria audiovisual. En la actualidad preside la Asociación Estatal de Productores de Cine (AECine), es miembro de la Junta Directiva de la Academia de las Artes y las Ciencias Cinematográficas de España, y compagina su labor como productora y productora ejecutiva, con la docencia.

Socia fundadora de Bowfinger Internacional Pictures, dedicada a la producción y coproducción nacional e internacional, es también CEO de Amiguetes Entreprise y Amiguetes Entertainment. En los últimos años ha producido más de 25 películas entre las que se encuentran grandes éxitos de taquilla como Padre no hay más que uno o Padre no hay más que dos. La llegada de la suegra, así como títulos como Nieve negra, Ola de crímenes o Sin rodeos, entre otras.

Desde que comenzara como controller en la productora Mareal Films, al frente de películas como Isla Negra, Airbag, ¡Go for gold! o The Impostor, su carrera no ha parado de crecer. Diplomada en Empresariales en la Universidad Complutense de Madrid con la especialización de Marketing y Comercialización, y varios masters entre los que destaca el Master de Dirección General del IESE Business School, en 1999 entra a formar parte de Amiguetes Entertainment y Amiguetes Enterprises. En ellas, compagina su trabajo como productora, productora ejecutiva, directora de comunicación y agente de Santiago Segura, con quien pocos años después funda Bowfinger International Pictures.

Es la productora de las cuatro últimas entregas de la saga Torrente, así como del resto de producciones de las compañías que dirige. Ha producido y coproducido internacionalmente películas como Casi leyendas de Gabriel Nesci, Solo se vive una vez de Federico Cueva con Peter Lanzani y Gerard Depardieu, No dormirás de Gustavo Hernández, Perdida de Alejandro Montiel, protagonizada por Belén Rueda, Las grietas de Jara de Nicolás Gil, o Animal del oscarizado Armando Bo.

Su apuesta por los nuevos talentos le ha llevado además a producir y coproducir títulos como Una de zombies, de Miguel Ángel Lamata, Promedio Rojo de Nicolás López; Jefe de Sergio Barrejón, ¿Que te juegas?, ópera prima de Inés de León, y recientemente La casa del caracol dirigida por la debutante Macarena Astorga y protagonizada por Paz Vega y Javier Rey cuyo estreno está previsto para el 11 de junio.

En 2021, producirá y coproducirá la nueva comedia familiar de Santiago Segura A todo tren. Destino Asturias; La Mirada de Lucía, dirigida por Imanol Uribe y protagonizada por Juana Acosta, Carmelo Gómez y Karra Elejalde o el thriller Lobo Feroz, dirigida por Gustavo Hernández y protagonizada por Adriana Ugarte y Fernando Tejero.

Entre sus próximos proyectos como productora ejecutiva también se encuentran títulos como El Refugio, De caperucita a loba en sólo 6 tíos o Mamá está en Tinder.