Interview with Santi Valldepérez
Director of the Terres Travel Festival
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Santi Valldepérez
Director of the Terres Travel Festival
How did the idea of creating the Terres Festival come about, and what elements were decisive in consolidating it as an international benchmark event within the field of audiovisual communication specialized in tourism, travel, and sustainability?
The driving force behind this project was the will to fill a gap. Based on our knowledge of the dynamics of festivals dedicated to the tourism audiovisual genre that existed in Europe, we realized there was no similar platform. Taking advantage of the momentum initiated in 2013 in the southernmost region of Catalonia, the Terres de l’Ebre—designated as a UNESCO Biosphere Reserve—we identified the potential to involve local institutions in creating a festival project dedicated to the audiovisual genre in southern Catalonia. This project would make sustainability its leitmotif while simultaneously acting as a catalyst for tourism companies in the area of influence.
What importance do you attribute to audiovisual storytelling in building the identity of a tourist destination, and how do you believe the Terres Festival contributes to generating new ways of telling travel stories?
Audiovisual media is the koiné of our time, the lingua franca of the contemporary era. At the same time, each audiovisual culture generates and adopts its own particular narrative codes. For this reason, tourism audiovisual production is a delightfully hybrid genre, constantly renewed and enriched by contributions from every corner of the world.
Our festival, like the rest of the festivals integrated into the international CIFFT circuit (International Committee of Tourism Film Festivals), seeks to highlight the value of this audiovisual genre not only in defining territorial identities and promoting tourism products, but also in effectively generating new narratives linked to the universe of travel.
In a world saturated with images and content, what characteristics do you think an audiovisual production should have in order to stand out at the festival and truly capture the attention of a global audience?
Not only in travel videos but across the entire spectrum of audiovisual productions, captivating the audience requires the intelligent use of narrative codes. Just as good films leave “gaps” in their scripts for viewers to fill with hypotheses as the story unfolds, tourism-related audiovisuals must have scripts that spark curiosity and appeal to the emotions of the audience. And without a doubt, a strong dose of passion is essential to connect with viewers—without it, the “spark” is impossible to ignite. Another key element, in my opinion, is the soundtrack. Productions with a genuine soundtrack, such as Cuenca Escenario, are truly memorable.
The Terres Festival has experienced remarkable growth in recent years. What would you say have been the main factors explaining its success, and what challenges do you currently face in maintaining this international projection?
From the very beginning, we were clear about two non-negotiable commitments. On one hand, our commitment to sustainability, as it is the narrative that shapes the territory where the festival is held, declared a Biosphere Reserve in 2013. The other commitment, closely linked to the first, is our dedication to our region, the Terres de l’Ebre, the southernmost part of Catalonia.
The City Council of Tortosa supported our project from the outset, and from there, all the institutions (the Provincial Council of Tarragona, the County Council of Baix Ebre, the Government of Catalonia, and the Ministry of Industry and Tourism) believed it made sense to support this initiative for its contribution to visibility and economic revitalization. Something we are particularly proud of is that 100% of the cost of the festival’s distinctive trophy—crafted by up to seven artists and artisans from our region—remains within the territory.
Promoting the circular economy is undoubtedly one of the achievements we are most satisfied with. Looking ahead, we see a specific challenge: developing complementary products to the festival itself. A good example of this is the initiative B2MTF Terres Travel Experience, designed for travel filmmakers, which combines unique discovery activities in southern Catalonia over the course of five days.
How does the festival manage to balance the cultural and artistic aspects of audiovisual productions with the commercial component that inevitably accompanies the promotion of tourist destinations?
The technical and artistic dimensions are inherent to any audiovisual discourse. Tourism audiovisuals, moreover, often add yet another layer, one directly linked to promotion. What is fascinating about the tourism audiovisual genre is observing how contemporary audiovisual narratives play with codes and audience expectations in pieces that are, in most cases, ostensibly commercial, yet ultimately manage to deliver original and remarkable works.
What current trends do you observe in travel films and documentaries, and how do these new forms of production influence the way destinations decide to promote themselves and connect with travelers?
The genre has evolved tremendously over the last decade. One of the narrative codes that, in my opinion, works best is undoubtedly humor. For example, I particularly like the campaigns recently produced by Switzerland Tourism featuring Roger Federer. Some of these campaigns approach Switzerland’s tourism product through a metalinguistic lens (two campaigns, specifically, show the supposed filming set of a commercial about the destination).
These campaigns have, in fact, won multiple international awards. That said, some videos even go beyond humor and venture into self-parody, such as the Linz is Linz campaign. All these examples demonstrate, in my view, that transgressing audiovisual codes intelligently is an unbeatable strategy.
Over the course of the editions held, which productions or messages have particularly impacted you, and what lessons do you think they have left for both organizers and participants?
After nine editions, the growing interest of the public has been joined by the recurrence of participants as one of the greatest legacies of our project. Around 30% of participants in the Terres Festival have taken part in more than one edition. Our main objective is to welcome both the public and professionals with warmth and professionalism. The message that I believe has resonated the most is, without a doubt: tourism will be sustainable or it will not exist.
What opportunities does the Terres Festival offer to participating destinations and production companies in terms of visibility, strategic alliances, access to new markets, and building international prestige?
Since 2019, we have been the exclusive members in Spain of the CIFFT circuit. For us, this represents fundamental support. Through CIFFT, we have been able to develop projects that have involved UN Tourism and other key entities for the development of global tourism. Moreover, from its very first edition, our festival was recognized with the EFFE distinction from the European Union, for its commitment to the territory where the activity takes place.
The networking among filmmakers, producers, and destinations generated during the festival is undoubtedly our main legacy. Nearly a dozen productions have been carried out as a result of relationships established at the Terres Festival.
How would you describe the relationship of the Terres Festival with institutions, companies, and organizations in the tourism sector, and what role do these alliances play in the growth and sustainability of the project?
The uniqueness of the project and its international resonance have helped build its own identity. The support of public administrations is fundamental to continue developing our objectives: the consolidation of the tourism audiovisual genre, the promotion of sustainable tourism, and the generation of tourism activity in the Terres de l’Ebre.
In organizing an international event of this nature, what logistical and cultural challenges arise most frequently, and how does the festival overcome them to maintain its quality and reputation?
We are a young yet experienced team. This will be the ninth edition of our event. Logistical challenges are the most significant. Fortunately, we rely on a network of trusted suppliers and collaborators that allows us to overcome these difficulties.
What criteria does the jury use to evaluate the participating audiovisual productions, and how is transparency and objectivity ensured in the selection and awarding process within the festival?
As in the rest of the festivals within the international CIFFT circuit, jury members assign scores based on five parameters: visual appeal, sound design, post-production work, impact, thematic relevance, and originality of the narrative or “storytelling.” The jury members—professionals from tourism and communication—are divided into several groups and evaluate the films assigned to them remotely. Their votes are recorded on the festival’s platform, from which we can determine which films have achieved the highest scores.
Technological innovation is advancing rapidly. How do you think tools such as artificial intelligence, virtual reality, or the metaverse will influence the future of travel films and the Terres Festival itself?
The integration of artificial intelligence is the greatest challenge of contemporary audiovisual production. Our festival is no stranger to this, and in fact, this subject will be the focus of one of the talks at the Sustainable Tourism Day on September 18. Moreover, two of the productions in the official competition stand out precisely because they were created using this tool.
Looking ahead to the coming years, what strategic objectives have you set to continue positioning the Terres Festival as an international benchmark in the field of tourism and cultural audiovisuals?
In addition to continuing to grow sustainably, we want the festival to serve as a platform to showcase the attractions of Tortosa and the Terres de l’Ebre. We are aware that we have created our own model, and we are proud that other countries are reaching out to us for strategic consulting or to establish connections.
Finally, what message would you like to convey to young creators and audiovisual storytellers who dream of telling travel stories and who might find in Terres a space for projection and recognition?
Travel is perhaps the activity we most associate with a fulfilling life. It is only when we cannot do it that we realize how important it truly is. I recently had a very traumatic personal experience, and when last year I was finally able to travel for six days—after more than three years without being able to do so—I remembered that it is something that helps us grow in an incomparable way. Traveling gives us perspective and direction; it enriches and empowers us.
Travel video creators hold in their hands products of great value, which they must nurture and treat with care and craftsmanship. Passion, as in all areas of life, is key for us to fall in love with destinations and products, with communities and people, and to decide to enrich ourselves by visiting them.
The authors are responsible for the choice and presentation of the facts contained in this document and for the opinions expressed therein, which are not necessarily those of Tourism and Society Think Tank and do not commit the Organization, and should not be attributed to TSTT or its members.
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