Influencers on the Red Carpet: A Growing Controversy
The increasing presence of content creators and influencers at the Goya Awards and the Malaga Festival has sparked heated debates in the film industry. This phenomenon raises questions about the role of influencers in cinema events traditionally reserved for actors. A particularly telling incident involved influencer Ona Gonfaus, who struggled to name a Spanish film at an event dedicated to Spanish cinema. This stark moment highlighted underlying tensions in the industry and revealed the uncomfortable questions that many actors might prefer to avoid.
The Goyas Without Actors
The 40th edition of the Goya Awards took place on February 28, 2026, in Barcelona, showcasing high-profile influencers like Dulceida, Laura Escanes, and Marina Rivers. Meanwhile, actress Yolanda Ramos, who had previously attended as a nominee, expressed her frustration from home, stating, “Except when I was nominated and the following year, neither before nor since have I ever been invited.” This sentiment resonated with other industry professionals like Norma Ruiz, who had also been omitted from invitations despite her extensive work in film during the prior year. The controversy further galvanized as attention turned toward the upcoming Malaga Festival.
What Happens in Malaga
As the 29th edition of the Malaga Festival commenced on March 6, the debate about the presence of influencers continued to simmer. Renowned actress Carmen Maura articulated the core issue: “Influencers seem very good to me, but they don’t make films.” In a column for a major publication, director Isabel Coixet questioned why influencers are given preferential treatment when many dedicated creators face financial struggles in the industry. These perspectives underscore a growing tension between traditional actors and the influencer community.
Case Study: Ona Gonfaus
During the red carpet event at the Cervantes Theater, Ona Gonfaus was asked by a reporter to recommend a Spanish film. Her response—”I don’t know now… a movie about what?”—further illustrated the disconnect between influencers and genuine knowledge of cinema. Instead of promoting relevant works, she mentioned ‘Eight Moroccan Surnames,’ which had no link to the festival programming. This incident was not isolated, as fellow influencer Olivia Bay also struggled to pinpoint a noteworthy film, opting instead to reference the hit series ‘La Casa de Papel.’
The Mechanics Behind the Scenes
It’s essential to note that the Film Academy does not solely dictate the invitations to these prestigious events; they are often influenced by sponsors. Content creators usually attend events like the Goyas as guests associated with brands, leveraging their online presence to generate social media content. Most influencers operate from peripheral spaces, creating buzz online rather than actually participating in the events themselves.
The Economic Imperative of Influencers
According to the ‘Influencer Economy’ study released in February 2026, Spain has approximately 285,000 active influencers with more than 10,000 followers on platforms like Instagram and TikTok. This growth in influencer marketing—73% on TikTok and 45% on Instagram—demonstrates a lucrative sector that exceeds the financial capabilities of the Spanish film industry. With brands eager for visibility among younger demographics, influencers wield significant economic power.
The Uncomfortable Truth
Actors in the industry may hesitate to confront the uncomfortable reality—many influencers are now more recognizable to audiences, especially between the ages of 16 and 25. Lola Lolita boasts 13.3 million TikTok followers, while Marina Rivers has over 7.9 million. The engagement these influencers generate often surpasses the box office success of various films in a year.
Rethinking Influencer Participation
One potential solution to the ongoing controversy involves reassessing the types of influencers invited to these festivals. Instead of focusing solely on lifestyle influencers, it would be beneficial to include those who actively engage with cinema and promote Spanish films regularly. Influencers like Javier Ibarreche and Javi Ponzo could provide more value than those who cannot even name relevant titles when approached by journalists.
Ultimately, the challenge lies in balancing economic interests with the genuine representation of cinema and its artists, a task that may require reevaluation of long-standing practices within the industry.