Eire Cid’s Debut Feature ‘The Imaginary Kings’ Explores Modern Male Angst and Working-Class Identity at ECAM Incubator

As the European film industry continually searches for bold new voices that can capture the raw pulse of contemporary youth culture, the 9th Incubator program of the Madrid Film School (ECAM) has brought forward one of its most striking and visually audacious titles to date. Among the select projects chosen for this prestigious development platform is The Imaginary Kings (Los Reyes Imaginarios), the anticipated feature film debut of writer-director Eire Cid.

Centering intensely on the turbulent emotional landscape of male urban youth, the project immediately sets itself apart through an uncompromising artistic vision. Described by its creator as an irreverent, visceral exploration of modern masculinity, the film leans heavily into a stylized, anti-naturalistic aesthetic that promises to vibrate with the raw energy of contemporary city life.

Speaking about the project’s unique visual and atmospheric identity, Cid explains that the film is designed to feel fluorescent, dirty, and sexy, drawing deep inspiration from modern urban culture and the distinct subcultures that thrive within it. Rather than presenting a sanitized or overly clinical view of youth, The Imaginary Kings dives headfirst into the chaotic sensory overload of its characters’ daily existence, utilizing heightened aesthetics to mirror their internal emotional turmoil.

A Portrait of Volatile Youth and Unresolved Grief

At the narrative core of The Imaginary Kings is Rude, a tattooed teenager living alongside his father in a gritty, working-class neighborhood. Rude is a complex study in contradictions—he is sensitive yet profoundly volatile, embodying a brand of modern masculinity that is defined equally by outward aggression and deep-seated internal fragility.

Rude’s already precarious world is upended by the sudden and tragic death of his close friend, El Rubio. Set adrift by this profound loss, Rude numbs his pain by immersing himself in a relentless cycle of trap music, casual gambling, street fights, pornography, and poppers. He exists in a state of suspended animation until he crosses paths with Valeria. While falling for Valeria brings moments of genuine happiness, her presence also acts as a catalyst, forcing him to finally confront the overwhelming grief he has desperately tried to evade.

Cid notes that the fundamental tragedy of the character lies in his emotional blockage. Rude is entirely unequipped to connect with his own pain and vulnerability. According to the director, true healing cannot occur without a complete breakdown, serving as the central dramatic hurdle the character must overcome.

For Cid, the creative journey behind the script was transformative on a personal level as well. She characterizes the narrative not merely as a coming-of-age story, but as a "coming-of-empathy"—a deliberate journey toward understanding. She compares it to her own internal process while writing the screenplay, noting how she initially approached certain characters from a feminist standpoint of frustration and dislike, only to ultimately arrive at a place of deep empathy and comprehension.

Championing Untold Stories from the Margins

Produced by Bea Villar of Brava, The Imaginary Kings is championed as a film explicitly crafted for teenagers whose real-life experiences and struggles are rarely represented on the silver screen. Villar emphasizes that this commitment to telling untold stories remains the foundational heartbeat of the Brava production banner.

Reflecting on her ongoing creative partnership with the director, Villar shares that from the very beginning, she and Cid shared a singular, unifying goal. They wanted to genuinely connect with young people during a critical cultural moment when increasingly dangerous and outdated ideas regarding what it means to be a man are resurfacing in public discourse. By tackling these themes head-on, the filmmakers aim to spark a vital, much-needed dialogue among audiences. Furthermore, Villar expresses deep admiration for the daring manner in which Cid stepped far outside of her creative comfort zone to bring this challenging world to life.

A crucial element of that world is the physical environment in which the story unfolds. The film is firmly rooted in a working-class neighborhood in the northwestern Spanish port city of Vigo, where the surrounding landscape features betting shops, local bars, and the towering silhouette of port cranes looming in the background.

Villar asserts that the choice of Vigo is far from accidental. Much like numerous other industrial port cities across Europe, Vigo carries the heavy historical legacy of declining traditional manufacturing and industrial masculinity. In many ways, the urban environment itself acts as a mirror for the film’s male protagonists, reflecting the structural and generational weight they carry.

A Rigorous Development Journey and Acclaimed Mentorship

Before arriving at the ECAM Incubator program, The Imaginary Kings underwent an extensive and rigorous multi-year development process across some of Spain’s most respected writing laboratories and residencies. The project’s early potential was recognized early on, leading to its participation in the fourth edition of the Spanish Film Academy’s prestigious Rueda Program.

Additionally, the feature was selected for the inaugural incubation and development program at the Madrid University School of Arts TAI, the Navarra Residency, the AGAG Mentorship Program for Women Screenwriters, and the CREA Conecta Lab. This extensive circuit of professional backing underscores the industry-wide anticipation surrounding Cid’s vision.

Throughout the intensive writing phase, Cid benefited from direct mentorship provided by a stellar roster of acclaimed filmmakers, showrunners, and screenwriters. Her mentors included Alberto Guntín, known for his work on Matalobos; Belén Funes, acclaimed director of A Thief’s Daughter; veteran script consultant and writer Lola Mayo, recognized for Dolemite; Locarno Golden Leopard-winning auteur Albert Serra, director of Story of my Death; and Silvia Herreros de Tejada, celebrated writer of the hit series La Ruta. This high-level creative guidance has helped shape the screenplay into a sharply focused, structurally robust narrative.

Capturing the Legacy of Industrial Decline in Vigo

With development milestones achieved and incubator support secured, the production team is now looking toward the physical realization of the film. Current plans are firmly in place to commence principal photography late next year in Vigo, returning the production to the exact geographical and cultural touchstone that inspired the narrative.

Villar reiterates that the city of Vigo is absolutely pivotal to the overarching themes of the film. Like many European industrial cities, Vigo bears the long-term economic and psychological scars of a frustrated working-class masculinity, largely shaped by the decline of the local shipbuilding industry, widespread unemployment, and corporate offshoring.

That complex industrial heritage is not treated merely as background scenery in The Imaginary Kings. Instead, Villar notes, it is positioned directly within the narrative as a tangible, intergenerational burden—a heavy inheritance passed down to young men who must figure out how to navigate their emotions amidst the ruins of yesterday’s economy. As the project prepares to move toward its production phase, the combination of Cid’s visceral directorial style, Brava’s dedication to marginalized youth narratives, and the stark backdrop of Vigo positions the film as one of the most keenly anticipated debut features on the Spanish cinematic horizon.