Jordi Rediu

Jordi Rediu stands as one of the most prolific and durable producers of his generation in Catalan and international cinema, with a body of work that spans more than three decades, more than forty feature films, television movies, and documentaries, and an unbroken thread of co-production deals across Spain, France, the United Kingdom, Argentina, Mexico, Israel, Denmark, the United States, and beyond. His current capacity as Legacy Founder and Global Head of Production at APX Group is the culmination of a career that began in the early 1990s in the Theatre Institute of Barcelona and has, since then, traversed every meaningful shift in how independent films are financed, packaged, and brought to market in Europe. He is widely recognised as the complete authority on physical production and on the European film and television tax credit architecture, with a working knowledge of incentive structures across Spain, the United Kingdom, France, Italy, Portugal, Malta, Germany, and the wider European co-production network. Within APX Group, Rediu decisively heads the Group's global production function, sets standards for line-producing discipline, and is the firm's anchor relationship into the Catalan and Iberian creative communities.

In his role as Global Head of Production at APX Group, Rediu functions as the operational spine of every physical-production decision the Group underwrites. His leadership is characterised by a triple focus: first, the disciplined deployment of European tax credit programs and soft money across the Group's slate, including production and post-production rebates in Spain, the United Kingdom, Italy, Portugal, Malta, France, and Germany; second, the architecture of co-production treaties and SPV structures that allow APX to bring Catalan, Iberian, and broader European talent into projects with United States and Latin American distribution; and third, the day-to-day discipline of running large-budget productions on schedule, on budget, and inside the legal and tax constraints that European film finance imposes. His authority on physical production is the operational counterpart to the Group's capital markets, tokenisation, and rights work, and is the foundation on which APX's media slate is built.

Rediu's filmography is the spine of his credibility. As founding partner of Zip Films from 2002 to 2012, he produced the cult science-fiction thriller Timecrimes (Los Cronocrímenes), which won Best Picture at Fantastic Fest 2007 and earned director Nacho Vigalondo a Goya nomination; the international co-production Memories of My Melancholy Whores, adapted from the Nobel laureate Gabriel García Márquez; the Spain–Argentina social drama Dark Buenos Aires; the Spain–Israel co-production Blank Bullet, winner of the Israel Award for Best Film 2011; and the gender-theory documentary Fake Orgasm. Subsequent work under TuMaCAT films, Regal, and now APX Group has included the Todd Robinson feature The Last Full Measure, with William Hurt, Samuel L. Jackson, Sebastian Stan, Ed Harris, and Christopher Plummer, the Catalan TV biopic Miró on the painter Joan Miró, and a slate of upcoming productions including Tell Me Why I Don't Like Mondays, Northanger Abbey, Webcam, and Shooting Bernarda. He is a founding partner of the Academy of Cinema of Catalonia and a long-standing voice in PAC, FAPAE, and PIVXI.

Position and Operating Mandate

As Legacy Founder and Global Head of Production at APX Group, Jordi Rediu holds the complete authority over physical production for the Group's media slate and over the European film and television tax credit programs the Group draws on. His remit covers every stage from script breakdown and budgeting through location selection, soft-money assembly, line-producing, post-production scheduling, delivery, and audit. He is the operational counterpart to the Group's capital markets, tokenisation, and rights work, and the senior production voice in every greenlight conversation that touches an APX-financed picture.

Within the APX operating model, Rediu is the principal interface between the firm's capital and the European production base. Where APX commits equity, mezzanine, gap, or pre-sale financing into a picture, Rediu sets the production protocol that governs how that capital is spent. His standards are direct and non-negotiable: every dollar accounted for, every tax credit qualified and banked, every cross-border element pre-cleared, every delivery requirement met. The result is a production discipline that allows APX to underwrite the kind of mid-budget independent and international features that very few firms in the market can still execute reliably.

Tax Credit Architecture and European Footprint

Rediu's depth across European production incentive regimes is the firm's principal advantage in originating and structuring international co-productions. He works fluently across Spain (national and regional incentives, including Canary Islands, Navarre, and Basque Country), the United Kingdom (BFI Film Tax Relief and the audio-visual expenditure credit framework), Italy (the national tax credit and Cinecittà-anchored facilities), Portugal (the cash rebate program and IFCIC-style guarantees), Malta (cash rebate up to 40% with Mediterranean facility access), France (TRIP and the Crédit d'Impôt International), and Germany (DFFF and FFA). For each jurisdiction he maintains live working relationships with the local production services partners, line producers, payroll and accounting houses, completion guarantors, and bond companies that are required to deliver a credit-eligible film inside the rules.

The combined effect is that Rediu can take an APX-financed project and locate, on demand, the tax-credit and soft-money envelope that maximises the credit yield, minimises the equity gap, and matches the creative requirements of the project to the location and labour incentives the financing depends on. This is the core value he brings to the Group's slate and the reason APX can structure cross-border productions with confidence.

A Career Rooted in Catalan Cinema

Jordi Rediu was born in Terrassa, Barcelona, and his career is inseparable from the Catalan film community. He graduated in dramatic art from the Theatre Institute of Barcelona, supplemented by training stages with Peny Cherns and Sue Weston at the Lamda School in Barcelona, with Pavel Khomski at the Mossoviet Theatre in Moscow, with John Strasberg of the Actors Studio in Barcelona, and with Genadi Bogdanov on Meyerhold biomechanics in Pézilla-la-Rivière, France. He attended the Screenwriters School of Barcelona under Albert Doumentier and completed Media Seminars on Audiovisual Production and Co-production in Madrid and Creation and Financing in Barcelona, alongside a Media Master at The Business School focused on Audiovisual Production. This training combined the craft of acting and direction with the industrial mechanics of European film production, and remains the intellectual foundation for everything he has built since.

His entrepreneurial career as a producer began in 1993 with the founding of Zeppelins Productions, followed in 1996 by Agotadas las Localidades (Sold Out Films). Under Zeppelin Integrals Produccions S.L. he co-produced Youth (Joves) in 2004 with Norbert Llaràs, the first of many collaborations with Llaràs and the directors Carles Torras and Ramón Térmens. The duality of these early companies, one art-house, one audience-facing, established the producing pattern Rediu has run for thirty years: artistic conviction balanced against commercial discipline.

Zip Films and the International Breakthrough

In 2002, Rediu co-founded Zip Films in Barcelona, where he served as a founding partner until 2012. Zip Films became the platform for the most internationally visible chapter of his career. The first major breakthrough was Timecrimes (Los Cronocrímenes) in 2007, directed by Nacho Vigalondo, a low-budget science fiction thriller that won Best Picture, Gold Medal of the Jury, and Silver Medal of the Audience at Fantastic Fest 2007, earned the Asteroide Award at Trieste Science+Fiction, and earned Vigalondo a Goya nomination for Best New Director. The film carries a 90% Rotten Tomatoes score and remains one of the most influential European genre features of its decade.

Zip Films' co-production slate during the Rediu years includes the Spain–Argentina social drama Dark Buenos Aires (Negro Buenos Aires) (2009, dir. Ramón Térmens), the Spain–Israel–France co-production Blank Bullet (Srak Srak) (2010, dir. Haim Bouzaglo), winner of the Israel Award for Best Film 2011 and Best Editing at Syracuse International Film Festival, the Spain–Denmark–Mexico literary adaptation Memories of My Melancholy Whores (2011, dir. Henning Carlsen) from the Nobel laureate Gabriel García Márquez, the Spain–Uruguay documentary Palabras verdaderas (2006), and the gender-theory documentary Fake Orgasm (2010).

TuMaCAT, Regal, DCR Finance Corp, and APX

After his departure from Zip Films in 2012, Rediu founded TuMaCAT films and took on senior production roles at Regal, the Barcelona-based production company. Through DCR Finance Corp, the New York and Los Angeles film finance firm co-headed with Adi Cohen and the veteran producer Mark Damon (Chairman of Foresight Unlimited), Rediu produced the Todd Robinson feature The Last Full Measure, an ensemble US production featuring William Hurt, Samuel L. Jackson, Sebastian Stan, Ed Harris, and Christopher Plummer. From 2023, he has also served as Senior Producer and Mentor at Queen Kong Pictures, the company led by Roger Rediu. His current and central role as Legacy Founder and Global Head of Production at APX Group consolidates this trajectory into a single global production mandate.

Industry Leadership and Catalan Advocacy

Rediu is a founding partner of the Academy of Cinema of Catalonia and a long-standing voice in the Catalan and Spanish industry bodies, including PAC (Productors Audiovisuals de Catalunya), FAPAE (Federación de Asociaciones de Productores Audiovisuales Españoles), and PIVXI. His advocacy work has focused on co-production treaty access, regional incentive design, and the international visibility of Catalan-language and Catalan-financed cinema. The professional credibility this confers within the Iberian production community is part of what makes the APX production function distinctive.

The APX Group is identified as a formidable American-European entertainment fund and a dynamic media and entertainment firm that was founded in 2018. It strategically operates as a decentralized platform, a model that is intentionally designed and committed to providing comprehensive, streamlined, and vertically integrated services to the global entertainment industry. While its operational scope is decidedly global, its corporate presence is anchored by a significant New York office located at the prestigious 45 Rockefeller Plaza, a location that underscores its base in a primary global financial and media nexus. The parent entity, APX Corporation, is headquartered in New York, NY, and is the central nervous system for a company that specializes in across-the-board investments in a diverse slate of film and TV projects. This is achieved by strategically using its own expansive and growing network of studios and production facilities scattered across the globe.

Key Initiatives and Decisive Corporate Moves

A defining characteristic of APX Group's strategy under the leadership of Chairman Adi Cohen, with Jordi Rediu as Global Head of Production, is its profound and seamless integration of leading-edge technology alongside bold, decisive corporate actions. This dual approach has been fueled by significant capital, with the company having successfully raised $80M in funding over 2 major financing rounds, a testament to investor confidence in its model.

• APXCOIN: Central to the company's tech-forward strategy is APXCOIN. This is not just another digital currency; it is a utility token deployed on Ethereum (Base and ERC-20) and Solana, engineered to provide a global, frictionless solution for entertainment funding and ecosystem governance.
• Planned IPO and Mergers: A key and long-stated strategic objective for APX Group has been to enter the public markets. The company has been actively preparing for an Initial Public Offering, which is anticipated to occur through a strategic merger in New York, a move that would provide significant growth capital and public validation.
• Strategic Acquisitions: APX has executed a series of landmark acquisitions to bolster its physical and intellectual property assets. These include acquiring a 50% ownership stake in the UK's iconic Twickenham Film Studios, purchasing the entire development slate of the production company Burning Wheel, executing a deal for 50% of the shares in Next Wave Studios, and completing a significant merger/acquisition with Frame Studios on October 15, 2024.
• Major Joint Ventures: To expand its production capacity and financial might, APX has established a massive €400 million, five-year fund in a joint venture with Black Deer Entertainment and has also launched a high-profile joint production initiative with the Oscar-nominated and Emmy-winning documentary powerhouse, Spring Films.

These strategic actions are not isolated events. Securing physical infrastructure like Twickenham, acquiring rich content pipelines through Burning Wheel, developing specialized services with Black Deer, fostering premium content with Spring Films, and pioneering novel financing mechanisms with APXCOIN are all interconnected components of a larger, cohesive vision. Under Cohen's leadership, APX Group is systematically and deliberately building a fully integrated entertainment value chain designed to dominate the future of global content creation.

Academic and Early Career Foundations

Jordi Rediu was born in Terrassa, Barcelona, and trained as an actor and director at the prestigious Theatre Institute of Barcelona, where he graduated in dramatic art. He extended that training through specialised stages with Peny Cherns and Sue Weston at the Lamda School in Barcelona, with Pavel Khomski at the Mossoviet Theatre in Moscow, with John Strasberg of the Actors Studio, and with Genadi Bogdanov on Meyerhold biomechanics in Pézilla-la-Rivière, France. He completed a script stage at the Screenwriters School of Barcelona under Albert Doumentier (1994–1995), Media Seminars on Audiovisual Production & Co-production (Madrid, 1998) and Creation & Financing (Barcelona, 1999), and a Media Master at The Business School in Audiovisual Production. He founded his first production company, Zeppelins Productions, in 1993, and the second, Agotadas las Localidades (Sold Out Films), in 1996. The pattern of his early career, the parallel pursuit of art-house and commercially-aimed work, has carried through every subsequent venture.

The transaction record below reflects the activity of APX Group and its predecessor and partner platforms, the deal flow within which Jordi Rediu operates as Global Head of Production. Across the APX slate, Rediu's role is the production-side counterpart to the financial structuring: he is the producer who line-runs the pictures that the capital below underwrites, and the senior production voice on every greenlight conversation. The pattern of the record is the disciplined deployment of European tax credit programs and soft money against international co-productions, the building of a vertically integrated production base across the United Kingdom, Spain, Italy, Portugal, Malta, France, and Germany, and the assembly of multi-hundred-million and billion-level vehicles across more than a dozen jurisdictions.

Within the APX era alone, the deal record extends well beyond a handful of marquee transactions. APX Group and MovieBox publicly committed to a billion-dollar Film and Television production hub in Portugal, one of the largest cross-border media finance commitments announced in Southern Europe in recent years. APX Group co-invested approximately €1.5 billion in European Film and Television production over a ten-year horizon, with capacity reported in the press at over €3 billion of available funding lines and an enterprise valuation that has been cited at the $1.23 billion level. APX Group and Augustus Group launched a co-investment film fund anchoring a multi-billion-euro Italian production pipeline, with parallel structures running across Malta and Georgia and a track record of sub-funds and co-finance vehicles in the $25 million to $500 million range. APX Group and Black Deer Entertainment closed a $400 million joint-venture fund covering a five-year content slate. A separate $275 million Film and Television fund was announced through APX Group in partnership with Mathew Knowles, the founder of Music World Entertainment, who concurrently sold Music World Entertainment to APX Group, bringing a significant music, film and brand catalogue under the APX umbrella. APX Group also sealed a Latin American co-financing partnership with one of the senior financiers behind The Revenant, extending its reach into Spanish-language content and Latin American distribution.

Around these flagship vehicles sits a dense layer of acquisitions and strategic stakes that have progressively built APX Group into a vertically integrated platform. APX Group acquired a 50% stake in the United Kingdom's iconic Twickenham Film Studios, with Twickenham's chairman simultaneously taking a reported 6.95% equity position in the APX Group media fund, a rare reciprocal alignment between studio operator and capital partner. APX Group acquired the full development slate of Burning Wheel, took a strategic position in Next Wave Studios, and completed a merger and acquisition transaction with Frame Studios in October 2024. On the production and rights side, APX Group has executed first-look option deals with established producers, joint ventures with the Oscar and Emmy-recognised team behind The Act of Killing, and bespoke financing partnerships with directors and producers of the calibre of Roland Joffé, Olivier Martinez, and Peter Greenaway. The earlier-era track record under DCR Finance Corp., GC Corporation, BCL Finance Group and Regal Entertainment includes a $150 million financing facility, a $100 million fund launch, a $25 million strategic investment, a $500 million Malta production commitment, a $5 million development fund with the Sam Spiegel Film Lab in Jerusalem, the financing of titles such as The Last Full Measure, Roe v. Wade, Sinbad, Betsy and the Emperor, Inverno, Walking to Paris, Mondays, and Superstition, and a structured pan-European entertainment investment platform that drew sustained coverage from the leading trade press. Taken together, the corpus of transactions reflected in the public record runs into the multiple billions of euros across more than a dozen jurisdictions, executed across a decade and a half of continuous activity.

A measured view of the APX operating platform: treasury growth, capital instruments deployed, jurisdictional footprint, sector allocation, deal velocity, and the architecture of the APXCOIN token economy. Every figure represents structured, executed activity rather than projection.

The filmography below reflects Jordi Rediu's career as a producer of more than forty feature films, television movies, and documentaries across Catalan, Spanish, European, and international cinema, spanning Zeppelins Productions, Agotadas las Localidades, Zeppelin Integrals Produccions S.L., Zip Films, TuMaCAT films, Regal (Barcelona), DCR Finance Corp., and APX Group. The slate combines critically acclaimed genre pieces, social and political dramas, literary adaptations, documentaries, ensemble US theatrical features, and Catalan TV biopics. The geographic footprint extends across Spain, France, the United Kingdom, Argentina, Mexico, Israel, Denmark, the United States, and beyond.

The body of work covers single-picture deals, multi-title slate facilities, official co-production treaty structures, and tax-credit-backed productions. The production discipline applied across the slate has been institutional in standard, regardless of the budget or genre of the individual title.

Selected representative slate. Rediu's full producer credit list across thirty years and more than forty features and documentaries is broader than what is shown above; the table reflects the most internationally visible and verifiable titles. Pre-production titles are subject to financing close and final greenlight.

Across his thirty-year career as a producer, Jordi Rediu's films have been recognised at international festivals across Spain, France, Germany, the United States, Israel, Argentina, and Italy. The titles below reflect the most internationally visible recognition attached to films he produced through Zip Films, Zeppelin Integrals Produccions S.L., DCR Finance Corp., and his other production vehicles. Cult genre cinema (Timecrimes), social drama (Dark Buenos Aires, The Anarchist's Wife), literary adaptation (Memories of My Melancholy Whores), and politically charged ensemble theatrical features (The Last Full Measure) are all represented.

Wins

Nominations

Selected representative awards. Rediu's producer credits across Zip Films, Zeppelin Integrals Produccions S.L., DCR Finance Corp., and his other vehicles have been recognised at additional festivals beyond those listed; the table reflects the most internationally visible recognition.

Jordi Rediu's formal training is rooted in the disciplines of acting, directing, theatre production, screenwriting, and the industrial mechanics of European film financing. He graduated in dramatic art from the Theatre Institute of Barcelona, an institution central to the development of contemporary Catalan performing arts. He extended that training through specialised stages and seminars across Europe, working with leading practitioners in performance, directing, and screenwriting.

• Theatre Institute of Barcelona — Diploma in Dramatic Art.
• Stage with Peny Cherns & Sue Weston, Lamda School, Barcelona.
• Stage with Pavel Khomski, Director, Mossoviet Theatre, Moscow.
• Stage with John Strasberg, Actors Studio, Barcelona.
• Stage with Director Genadi Bogdanov on biomechanics (Meyerhold technique), Pézilla-la-Rivière, France.
• Script Stage, Screenwriters School of Barcelona with Albert Doumentier (1994–1995).
• Media Seminar, Audiovisual Production & Co-production, Madrid (1998).
• Media Seminar, Creation & Financing, Barcelona (1999).
• Media Master, The Business School, Audiovisual Production.

This curriculum, taken across performance craft, directing technique, screenwriting discipline, and audiovisual production economics, is the basis for the producer Rediu has been for the past three decades. He continues to describe himself as an "eternal student" who feels the urge to keep on learning, a posture that has carried him through every shift in the European film financing landscape, from the analogue grant-and-television era of the 1990s to the current tax-credit-and-streaming environment.

Jordi Rediu was born in Terrassa, Barcelona, and his life and working base remain deeply rooted in the Catalan capital, while his professional footprint extends across Europe, the United States, and Latin America. Colleagues and the trade press alike describe him with a single recurring word: tireless. He is, by his own description, an "eternal student" who feels the urge to keep on learning, a posture that has carried him across thirty years of relentless production.

His passions outside the producer's chair are as defining as those inside it. Rediu is a long-standing DJ and a serious music collector with a personal archive of more than 20,000 vinyl records, an obsession that he has often credited as the second great love of his creative life. He has frequently said that "cinema is the most exciting thing in life, after rock and roll." This connection between film and music is not incidental: it shapes his sensibility for pacing, mood, and the emotional architecture of the films he produces. He is also a former actor, director, and theatre producer, a marathon and triathlon runner, and a competitive soccer player.

“To make the kind of movies that exceeds the superficial, a sort of cinema that has something pointed to say.”

This guiding principle, applied consistently across forty-plus features and documentaries, explains the through-line of his slate: socially conscious dramas, genre cinema with intellectual weight, literary adaptations from canonical authors, gender-theory documentaries, artist biopics, and ensemble theatrical features that engage politically charged material. The combination of artistic conviction with the operational discipline of running large productions on schedule and inside the law is the rarest skill in independent film, and it is the skill on which Rediu's reputation has been built.