The Rise of the Debutant: Why San Sebastian’s New Directors Lineup is More Than Just a Showcase
There’s something undeniably thrilling about debut films. They’re raw, unfiltered, and often carry the weight of a filmmaker’s entire career aspirations in their first 90 minutes. This year’s San Sebastian International Film Festival is no exception, with its New Directors lineup serving as a global stage for fresh voices. But what makes this year’s selection particularly fascinating is the sheer diversity—not just in geography, but in storytelling ambition.
Take The Bad Son, the debut feature from Money Heist star Jaime Lorente. On the surface, it’s a story about an 11-year-old boy grappling with his father’s disappearance. But what many people don’t realize is that Lorente is using this rural, almost timeless setting to explore something far deeper: the intergenerational transmission of trauma. Personally, I think this is a bold move for a first-time director. It’s easy to get lost in the symbolism of such a heavy theme, but Lorente’s choice to anchor it in a child’s perspective adds a layer of vulnerability that’s hard to ignore.
Then there’s Florid, from British director Billy Lumby, which closes the section. Lumby’s film follows a young musician battling mental health issues, medication, and substance abuse. What makes this particularly fascinating is how Lumby, already recognized for his BAFTA-nominated shorts, is tackling a subject that’s both deeply personal and universally relatable. In my opinion, the film’s success will hinge on its ability to balance the chaos of its protagonist’s life with moments of clarity—a tightrope walk that could either elevate it to greatness or leave it feeling disjointed.
But let’s take a step back and think about it: why are these debut films so compelling? Part of it is the risk-taking. Established directors often play it safe, but first-timers have nothing to lose. Take Naëmi Adawi’s Body of Glass, for example. A former contemporary dancer turned filmmaker, Adawi brings a unique physicality to her story of a young dancer navigating a violent relationship. This raises a deeper question: how much of a filmmaker’s past influences their debut? In Adawi’s case, her dance background isn’t just a footnote—it’s woven into the film’s very DNA.
Another standout is Rodrigo García Saiz’s Morro, a follow-up to his debut Rain. Set in a small Mexican town, the film explores grief and redemption through the lens of a veterinarian and a local capo’s dog. What this really suggests is that García Saiz is less interested in spectacle and more in the quiet, human moments that define us. It’s a refreshing approach in an era dominated by blockbuster narratives.
What’s also striking is the global representation. From Norway’s Marlene Emilie Lyngstad (Cute) to Kazakhstan’s Ayana Nurdinova (Mugalim), these filmmakers are bringing stories that challenge Western-centric narratives. One thing that immediately stands out is how these films, despite their diverse origins, share a common thread: they’re all deeply personal. Whether it’s a ballet lesson in Japan or a love story in Iran, these directors are using their debuts to stake their claim on the global stage.
But here’s the thing: debut films are more than just a showcase of talent. They’re a snapshot of where cinema is headed. If you take a step back and think about it, these filmmakers are the ones who’ll be shaping the industry in the next decade. Their risks, their failures, and their triumphs will set the tone for what’s to come.
In my opinion, the San Sebastian lineup isn’t just a competition—it’s a manifesto. It’s a declaration that cinema is still a medium of possibility, where a first-time director can stand shoulder to shoulder with veterans like Mike Leigh and Pablo Larraín. What many people don’t realize is that these debutants are often the ones pushing boundaries, challenging norms, and redefining what a film can be.
So, as we await the Kutxabank-New Directors Award, let’s not just watch these films—let’s listen to them. Because in their raw, unpolished voices, we might just hear the future of cinema.
Final Thought: Debut films are often dismissed as rough drafts, but this lineup proves they’re anything but. They’re bold, unapologetic, and utterly essential. If there’s one thing I’ve learned from this selection, it’s that the next great filmmaker isn’t waiting in the wings—they’re already on screen.
