Andorran Laia Ateca Wins European Film Award for Sirat Production Design

Laia Ateca, an Andorran production designer, won the European Film Award for best production design on Saturday for her work on *Sirat*, directed by Olivier Laxe. The film, which had a budget of €7 million, beat higher-budget competitors like *Bugonia* (€55 million) at the Berlin ceremony. Ateca described the moment as surreal, sharing the room with directors such as Joachim Trier, Alice Rohrwacher, and Jafar Panahi. "You have to pinch yourself to believe it," she said.

This marks her second major award in two years, following a Gaudí last year—her first big recognition. *Sirat* remains in contention for further honours: the Gaudí awards on 8 February and the Goyas on 28 February, where it will represent Spain if selected tomorrow. Ateca faces strong competition at the Gaudís from *Sorda*, *Frontera*, and *Romería*, but tempered expectations. "We have a chance, but jury tastes differ across Europe, Catalonia, and Spain," she noted. Whatever happens, she views the EFA as the standout achievement.

Andorra boasts a strong presence at these awards. Ateca will compete alongside Desirée Guirao, nominated for best costume design on *Sorda*, and Laia Pajares, in costumes for *Romería*—also a Goya contender. "We're living a golden age," Ateca said, pointing to the growing number and quality of Andorran professionals across film disciplines.

She called for government action to build a local industry, including joining Eurimages, fiscal incentives, and more shoots. While she serves on a ministry commission awarding an annual €125,000 production grant, she said it is just a start. "We need more shoots for locals to work at home," she added. Directors face steeper hurdles in tiny Andorra, from financing to launching projects, but technicians like her can join established ones.

Ateca credits Andorra's Cineclub for sparking her career: weekly sessions at the Comunal drew her to diverse cinema, building trust in its selections. She remains selective with projects, supplementing film work with advertising. In *Sirat*, filmed partly in Morocco, her contributions included custom 1970s-80s trucks, a replica accident road built in a Teruel quarry—painted to mimic the landscape—and fake river crossings, houses, and train wagons, all later burned for a key scene. "If you don't notice the illusions, we've done our job," she said.

Production design, she argued, is vital yet overlooked: "Without it, there's nothing for the cinematographer to shoot but actors." It conveys emotions and ideas silently. Ateca praised the EFA's cinephile atmosphere and complimented rivals' work, like *Bugonia*. An eclectic viewer, she favours auteur cinema.