Manuel Gómez Pereira’s “The Dinner” (“La cena”) comes into And the Goya Goes To – New Spanish Films NY with proven local traction and fresh awards visibility.
Set in 1939 in the immediate aftermath of the Spanish Civil War, the film follows a group of defeated Republican chefs ordered to prepare a celebratory banquet for Franco and his top generals at Madrid’s Palace Hotel, while plotting what may be their last chance to escape.
Led by Mario Casas and Alberto San Juan, the film combines a period backdrop, built-in tension and a tone that shuttles between suspense and comedy.
That formula helped drive one of the more notable local theatrical runs among Spanish titles of the season. Released by A Contracorriente Films on Oct. 17, “The Dinner” has grossed €3.7 million ($4.3 million) and drawn more than 600,000 admissions, according to Comscore figures provided by Spain’s ICAA film institute.
At the 2026 Goya Awards, it converted eight nominations, including best picture, into two wins: adapted screenplay for Joaquín Oristrell, Manuel Gómez Pereira and Yolanda García Serrano, and costume design for Helena Sanchis.
The film marks one of Gómez Pereira’s most visible market outings in years. A longstanding force in Spanish commercial cinema, his directing credits include “All Men Are the Same” (“Todos los hombres sois iguales”), “Mouth to Mouth” (“Boca a boca”), “Love Can Seriously Damage Your Health” (“El amor perjudica seriamente la salud”) and “Queens” (“Reinas”).
Produced by Cristóbal García, Lina Badenes and Roberto Butragueño, “The Dinner” is a Spain-France co-production led by La Terraza Films alongside Turanga Films, Sideral Cinema and Entre Medina y Genaro AIE, with French outfit Halley Production co-producing. Film Factory Entertainment handles international sales.
And the Goya Goes To – New Spanish Films is organized by Spain’s Academy of Cinematographic Arts and Sciences, its ICAA film agency and export and trade board ICEX.
Variety spoke to producer Cristóbal García, who will attend the film’s April 19 screening at Village East by Angelika Cinema in New York, where “The Dinner” will play at 4:45 p.m., followed by a post-screening conversation.
What do you see as the main drivers behind “The Dinner’s” success at the Spanish box office?
With some distance, it is easier to see. From the start, we wanted to make an unapologetic anti-war comedy — entertaining and fun, but without going for the easy option. We never thought in terms of success, because I think focusing on success is a mistake that can only lead to frustration. What happened was that the film genuinely connected with audiences. It posted a good number on its opening weekend, but what really matters is that it ultimately multiplied that opening-weekend gross by eight, which shows that word of mouth and recommendation worked very well. It also confirmed that audiences want to see comedies, and that they saw “The Dinner” as a different kind of comedy, with a cast in a real state of grace. I also think the film’s concept was very appealing to theatrical audiences.
What component of the film proved most decisive in connecting with audiences?
The proposition itself. Suddenly there was a film that had not been on anyone’s radar — a period comedy, laughing at something very much our own, and completely independent. I think that sense of surprise is what hooked audiences. And not only in theaters, but also on platforms, where it is still posting very strong numbers.
What aspects of “The Dinner” position it best for international audiences?
In the end, the subject the film deals with is universal. We located it in a very difficult moment in our history, but if you think about it for a second, it has many analogies with situations that repeat themselves across all periods and places. The film also has that entertainment component that works very well. The whole journey of these chefs who have to escape, with a ticking clock and real danger, draws on elements that are common to cinema all over the world.
How does the blend of comedy and drama, set in Madrid in 1939, define the film’s identity?
It defines the film very clearly from its foundations. I believe cinema is a journey, and when you place the action in Madrid in 1939, in a wartime context, in a place as emblematic as Madrid’s Palace Hotel, you are already making a very strong statement of intent. From there the film follows its own path, but one fundamental idea we had from the beginning was to show that side of Madrid which we felt had not really been portrayed, and to do so through characters pushed to the limit in a historical moment. That is the essence of the film.
Did the Goya run change the film’s visibility? In what sense?
We believe the Goyas were the icing on the cake. The nominations arrived when the film had already completed its theatrical run, so they may have helped it be seen more on platforms. What they certainly were, though, was confirmation that our peers also supported the film, and that the Academy wants to value comedy, something that perhaps had not happened for a long time. This year’s crop was incredible, and receiving eight nominations, including best picture, was something very special. We feel deeply grateful.
What concrete opportunity does And the Goya Goes To – New Spanish Films represent for “The Dinner”?
Showing your work to new audiences is always enriching. Being able to show the film in the United States, and specifically in New York, is a privilege, and we are very eager to see how audiences respond. It is a terrific initiative, and one we hope will continue in the coming years. Supporting the circulation of our cinema beyond our borders is hugely important.