At 90, Woody Allen is directing his 51st feature film in Madrid, with €3 million in public funding supporting a production budget of approximately €12 million. The funding, shared equally by Madrid City Council and the regional government led by Isabel Díaz Ayuso, comes with specific conditions: the final title must include “Madrid”, and the Spanish capital must be clearly recognisable throughout the film. Provisionally titled WASP 2026, the contemporary comedy combines romance, intrigue and infidelity against a diplomatic backdrop.
Filming began on October 5 and is scheduled to continue for six weeks across more than 30 locations in Madrid and nearby Aranjuez. Allen’s latest project gives the Spanish capital an opportunity to reach international audiences through cinema, using the city’s streets, architecture and landmarks as part of the film’s setting.
The €3 million contribution represents 25% of the estimated production budget, making public funding a substantial component of the film’s financing. The arrangement is structured as a tourism promotion campaign rather than an unrestricted artistic grant. Authorities want international audiences to recognise Madrid on screen and associate its streets, architecture and landmarks with the film’s story.
The funding agreement requires at least 15% of the scenes to feature identifiable exterior locations. This makes Madrid’s presence a contractual obligation rather than simply a creative choice. The final title must also include the city’s name, although the production has yet to announce its official title.
The economic case for the investment extends beyond international exposure. According to Madrid City Council, approximately €9.46 million of the production budget will be spent locally. Officials estimate that the shoot will generate around 1,196 direct jobs and 2,293 indirect jobs, while employing a largely Spanish technical crew. These projections form part of the authorities’ justification for investing public money in a privately produced feature film.
The production brings Allen together with veteran cinematographer José Luis Alcaine, known for his extensive collaborations with Pedro Almodóvar. His involvement connects the project to a prominent figure in Spanish cinema, while placing Madrid’s architecture and streets at the centre of the film’s visual identity.
The announced cast includes Alexi Wasser, Jemima Kirke, Peter Vives, Marton Csokas and Jakob Oftebro. The film is being produced by Wanda Visión, Gravier Productions and 3Six9 Studios, with Wanda Visión handling its theatrical distribution in Spain.
The working title, WASP 2026, stands for Woody Allen Summer Project 2026. However, the contractual naming requirement means the title audiences eventually see must be different from the provisional one. The film is also expected to receive an international festival presentation, forming another element of the promotional arrangement.
Madrid’s investment recalls the financing of Allen’s Vicky Cristina Barcelona, released in 2008. Barcelona City Council and the Catalan regional government contributed public funds to that production, which brought the city to international screens. The arrangement attracted criticism from Spain’s conservative People’s Party (PP), which questioned the use of public money to support the film.
Nearly two decades later, the PP governs both Madrid’s regional administration and its city government. Ayuso and Madrid mayor José Luis Martínez-Almeida are now backing a similar strategy, with a combined contribution to Allen’s new film that is twice the earlier amount.
The political contrast highlights how cinema can become part of a city’s tourism strategy regardless of which party holds office. The underlying calculation is straightforward: an internationally distributed film featuring recognisable locations may encourage viewers to visit those places themselves.
For Madrid, the challenge will be turning that possibility into lasting value. The city has secured a place in the film’s title and a guaranteed presence on screen. Whether those commitments translate into increased visitor numbers will depend on the finished film reaching audiences and giving them a reason to explore Madrid beyond the cinema.
