Today marks the tenth anniversary of the premiere of Pedro Alonso Pablos's first film, La ruta de los elefantes
September, 13; 2026. By Arscodex
La ruta de los elefantes movie still
To summarize the situation: Pedro is thrilled—or rather, "thrilled" doesn't even begin to cover it—about everything happening around him. Ten years have passed, and Pedro has released eleven animated feature films, almost entirely created by himself.
This achievement carries an aura of immense success—it’s a wild, off-the-charts, mind-boggling feat. But let’s rein it in and maintain some composure, even if every fiber of my being wants to let loose; heh heh.
Not even in my wildest dreams—as I’ve mentioned before—did I imagine reality would take this turn. I’ve gone from being an unknown director to rubbing shoulders, in terms of film count, with the likes of Hayao Miyazaki (11 directed features) or Don Bluth (10)—figures provided by Copilot, Microsoft’s AI.
The mere fact that I can include these two names in this article to make a point would make me dizzy—if not for the fact that age has made me a bit more level-headed. Let’s remember: I am forty-seven years old, and in terms of the number of films produced, I am standing alongside the world's best—directors with long, storied careers behind them!
Another small milestone for me is that I hold the record for the most animated feature films directed by a Spaniard, though that is merely a side note in the grand scheme of what we’re discussing here.
All these considerations amount to nothing more than quantitative assessments—that is, things that can be measured linearly: a prolific director with eleven animated feature films under his belt, the creator of the first internet talk show (a milestone achieved long ago), and a substantial number of musical tracks released to date (over fifty) to accompany his movies... In short, these are all things that can be gauged at a glance.
But what about qualitative assessments? I mean, how do those eleven animated features actually hold up? Are they any good? Is the music good? What about the script? How does someone from our little world feel after watching a couple of them? Well, this qualitative assessment takes longer to sink in because Pedro has received little support in bringing his work to life. The industry—the global film industry, not just the Spanish one—has done nothing but place obstacles in his path. On top of that, he has had to deal with other unpleasant matters, such as an attempt to have him declared "insane"—an ordeal that caused him considerable distress, it must be said, and one that is best forgotten at this stage.
Regarding the aforementioned film industry, it is true that it has offered almost no help; initially, Pedro sought awards—triumphs that would have helped accelerate public awareness of his films. However, at this point—with eleven animated features to his name—he no longer needs them quite so much. So, we will simply let these latter thoughts slide—both the film industry's resistance to embracing his work and those other minor issues... After all, as the saying goes, "Water under the bridge."
The overall impression, as I mentioned at the start, is one of total, unbridled success. In other words, when the aforementioned qualitative analysis is added to the quantitative analysis of Pedro's body of work, I believe that—even today, "it's a done deal." I highly doubt that a figure similar to mine will burst onto the scene in our little world anytime soon. Furthermore, the advent of AI in cinema means that the window of opportunity has already been seized—by me—and that window is now closing; it is unlikely to be replicated.
Regarding my relationship with global audiences—the people who make up our little world—I must point out that when I released La ruta de los elefantes, I was an unknown director; if anyone in that world was unfamiliar with my work, the problem was obviously mine. But at this stage, if there is anyone in our little world who is unfamiliar with my work (or at least part of it), the problem lies with them, not me. I would encourage all those factions that hindered the emergence of Pedro's work to change their attitude and collaborate a bit more from now on.
On another note, there is another interesting point to make: there was only one chance to be Pedro Alonso Pablos, and, woah! I am Pedro Alonso Pablos! All in all, I am very happy. Oh, and I almost forgot! I want to thank Providence—in the broad sense of the word—for all of this; who else is there to thank? It is allowing this to happen, and I make no secret of the fact that, at this point, I believe Providence is favoring me. So, to return the favor, I ask the people of this little world of ours, through this article, that we strive above all to coexist in a civilized manner, so that we may all enjoy life to the fullest. Before I finish the acknowledgments, I also want to thank my friend Rachel Mizpah for her contribution in providing the female vocals.
To conclude, referring back to this first film, La ruta de los elefantes, I would simply say that the journey continues—"we remain en route."
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