Spanish film company ISII Group is inviting audiences on a star-studded cinematic trip to the American Wild West with its most ambitious feature film so far, the action-adventure Western Trinidad, starring Karla Sofía Gascón, Paz Vega, Gabriela Andrada and Sofía Allepuz.
Written and directed by Laura Alvea and José Ortuño and set to premiere in Spain on Nov. 13 by ISII’s Deep Com Roots, Trinidad tells the story of a young Spanish woman, played by Andrada, who moves to the American Wild West with her mother (Vega) and sister (Allepuz) to escape legal issues. She finds a new life as a gunslinger, which allows her to support her family, but also creates enemies, including the widow Bronson, portrayed by Gascón in her first major role since her Oscar-nominated work in Jacques Audiard’s Emilia Pérez.
Led by CEO Silvia Carvalho, the Madrid-headquartered ISII Group, founded in 2024, has been gearing up for its inaugural Cannes after making its market debut at Berlin via its international sales and distribution firm Deep Com Roots earlier this year. The company says it has been in pre-market negotiations for Trinidad for several territories before even hitting Cannes for its market premiere.
ISII Group encompasses four production companies: Inefable Productions, which focuses on fiction and is behind Trinidad, Isora Films, which specializes in documentaries, Sinapsis Studios for animation projects, and SIA Servicios Audiovisuales, its production services arm. ISII also has a presence, and skin in the game, across other parts of the film business. Deep Com Roots functions as the group’s sales and distribution arm and touts its “commitment to a cinema with its own identity, capable of connecting with international audiences through great narratives, aesthetics and emotional strength.” Also part of the company are KBCF Consulting, focused on financial and regulatory structuring, and Divergente, a streaming platform for content that is less than an hour long.
Overall, ISII looks to combine artistic and financial ambition with a focus on films that can travel. Trinidad is “designed as an event” and has “a long-view commercial plan,” Carvalho has told THR. Heading into Cannes, she shared: “Trinidad is clearly our flagship title, but we are not arriving with just one project. We are bringing a broad in-house slate of diverse original projects, including upcoming theatrical releases, and two high-profile productions in production, one of them English-language. We offer a diverse catalogue that caters to commercial high-concept and prestige distributors worldwide.”
Among ISII’s four other Cannes market titles are also the likes of Arima León’s debut feature Love on a Tightrope, about the real-life love between tightrope walker Pinito del Oro and poet Natalia Sosa, and the drama Summer Days, directed by Chema de la Peña and starring Maggie Civantos (Cable Girls) and Pau Simon, which tells the story of Juan, whose father brings his much younger girlfriend to the family home, leading to tension between the men and hard-to-control passion. Carvalho described them as “significant arthouse and contemporary dramas,” which are completed and will be released in cinemas this year.
Also packed for Cannes is thriller-horror film Restricted Area, which is almost completed, and “our first English-language thriller, La Cathédrale, which will begin shooting soon and stars an international cast” that Carvalho can’t share yet, though. “This is the first project that will be entirely in the English language for Deep Com Roots” and tells the suspenseful story of the first violinist of the Tenerife Symphony Orchestra, she explains.
Beyond showcasing and selling its titles, ISII also sees Cannes, along with such other markets as Berlin and AFM, as another stage to present its broader vision and continue expanding its slate, including potential acquisitions for the Spanish market, and building long-term relationships with international partners.
After all, ISII has more films in the works. “Besides our Cannes lineup, we have two more new projects that we will begin working on soon: a comedy film, Desde Arriba, and a flamenco dance film, Amor de Dios,” said Carvalho. “Both projects will have a budget of over 10 million euros ($11.7 million).”
Trinidad is “not simply a distinctive title on our slate,” Carvalho explains. “It is the first clear statement
of the kind of cinema we want to build at ISII Group. We believe in a theatrical-first approach, in films made to connect with audiences through the singular experience of going to the movies. Just as importantly, the project reflects how we see the business overall: a structure that can support a film from development and production through distribution and international reach.”
Concluded the CEO: “ISII Group is still less than 2 years old, yet we already have four feature films scheduled for release in 2026, several docuseries set to launch soon [with such titles as Sons of the Apocalypse and Cántame una historia], four more feature films already greenlit for production this year, and a wider pipeline of projects in development with a clearly defined ISII Group DNA. In that sense, Trinidad is the first visible sign of a broader creative and industrial vision — one designed for sustainable growth and long-term partnerships.”
With all that in mind, THR asked Gascón about Trinidad, her role in the ensemble piece, weathering the storm of controversy, and timely lessons from a story set in the Old West.
What attracted you to Trinidad, a 19th century Spanish Western by ISII, after your success with Emilia Pérez?
What attracted me most was the opportunity to play another great character. When I was offered the chance to take part in a Western, the first thing that came to mind was playing with horses and guns, but what I was offered was far better: a crippled, bitter villainess with a deep resentment toward progress.
What was it like working with an ensemble cast, including Paz Vega and Gabriela Andrada, under the direction of Laura Alvea and José Ortuño?
They are all top-level artists, fully committed to a project into which they’ve poured their soul and their love for our profession and for filmmaking. It’s always a pleasure to work with such talented people who elevate everything we do.
What was it like shooting a story set in the old United States in the Canary Islands?
Spain has hosted numerous productions set in the Old West. Practically all of Clint Eastwood’s films were shot in Spain, given the landscape similarities and the facilities available. Having visited several places in the U.S., I wouldn’t be able to tell where it was filmed. It’s fascinating to see how an imagined reality is re-created and brought to life through streets, wagons, horses and guns.
How relevant are the themes and issues explored in the film today?
It’s actually a very timely film. It speaks about resentment and racism in a society that sees difference as a threat to its interests, instead of embracing it as a starting point for growth and understanding. It also addresses misogyny, oppression, tradition, and a kind of conservatism that stands against progress and the advancement of rights and development. It touches on the challenges faced by immigrants, who must navigate a society of immigrants that does not want to lose control. It’s a story about human hypocrisy — failing to recognize that their ancestors once followed the same path as those they now criticize.
In this film, you play the villain. Was that a conscious decision after the controversy surrounding past tweets that made some people see you as a villain during the Emilia Pérez Oscar campaign? And what lessons did you take from that experience?
I choose my roles based on my interpretive abilities, the acting challenge they present, and above all, the life contrast they offer — allowing me to explore different versions of the human being. This villain is a clear example of how far the character is from my reality, far removed from the image some tried to attach to me in their attempt to defame me. I am one of the least harmful people in this world.
The whole tweet story now feels almost like a childish tale. Given the current climate, it’s not hard to understand where it came from and who was behind it. Someone decided who I should be in people’s minds and built a narrative to fit that image. With time and perspective, I’ve fully understood this fabrication, used simply to prevent an actress from winning an award because of what she represents.
When the time comes, I will speak more in depth about it. The lesson I take is always a positive one: No matter how much it feels like everything is turning against you, smile — because, as the saying goes, he who laughs last, laughs best, especially when you’re falsely accused of [being] something you are not. In the end, I was lucky — it could have been much worse.
What can you tell us about your character, the widow Bronson, and the role?
It’s my first fully English-language film, with a Southern accent. I hope I’ve created a character that will stand the test of time. She’s essentially a female Darth Vader, with the power of the dark side and strong manipulative abilities. If it weren’t for the setting, she could easily be a great comic book supervillain.
What was the most difficult part of your role or the shoot?
Being confined to a wooden chair, wearing that impressive multilayered costume, in the intense heat of Gran Canaria. But it was worth it.
What is your hope for Trinidad, which seems like it could have broad audience appeal?
Many surprises. I believe it’s a remarkable piece within its own unclassifiable genre. Hopefully, we’ll be able to premiere it at a festival and compete for awards that my fellow cast and crew undoubtedly deserve. Audiences are going to have a lot of fun with the adventures and misadventures of these unusual characters, all brought to life with extraordinary quality.
Do you have other projects with ISII in the works?
Yes. I love the creativity of the entire team led by Silvia. Hopefully, we’ll be able to bring audiences as many stories as our imagination allows.
I’d love to be able to share details about the upcoming projects, as there are many cinematic adventures ahead with ISII Group, but for now, it’s time for the American West and Trinidad.
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